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DRAMATIC  DANCES 


FOR 


SMALL  CHILDREN 


BY 
MARY  SEVERANCE  SHAFTER 

Music   by 
EVA   O'BRIEN 


New  York 

A.  S.   BARNES  AND   COMPANY 

1921 


s^ 


Copyright  1919  by 
THE  A.  S.  BARNES  COMPANY 


PREFACE 

These  little  pantomime  dances  were  composed  in  answer  to  what  seemed  to  me  a  very  real  demand  on 
both  children  and  teachers'  part. 

Folk  dancing,  while  it  fills  a  very  important  place  in  the  gymnasium,  is,  for  the  most  part,  for  older 
children.  Personally,  I  have  found  a  woeful  lack  of  material  for  the  little  tots  of  four,  five,  six  and  seven, 
which  the  teacher,  especially  the  young,  inexperienced  teacher  who  has  had  no  previous  experience,  can  use. 

Little  children  between  the  ages  of  four  and  seven  cannot  remember  complicated  evolutions,  nor  if  they 
could  would  they  be  interested  in  them.  In  fact,  they  will  not  be  interested  for  any  length  of  time  in  dancing 
figures,  unless  there  is  some  story  connecting  them.  There  is  no  more  natural  actor  in  the  world  than  the 
small  child.  He  imitates  everything  he  sees  ;  the  conductor  collecting  transfers  on  the  street-cars  ;  the  post- 
man delivering  letters  ;  the  planting  of  vines  ;  the  sowing  of  seed  ;  the  harvesting. 

Every  child  of  normal  bringing  up  has,  as  a  part  of  his  birthright,  the  Mother  Goose  rhymes,  and  the  beloved 
stories,  "Henny  Penny,"  "Goldilocks,"  and  • 'The  Little  Red  Hen."  He  learns  them  at  his  mother's  knee, 
and  in  his  little  Primary  Readers  he  hears  them  again.  They  are  part  of  him,  so  what  more  natural  than  that 
when  he  goes  to  his  dancing  he  should  enact  his  favorites  ?  There  is  nothing  new  to  learn  when  he  sings  an 
old  favorite  from  Mother  Goose.  He  is  amongst  old  friends  when  he  dramatizes  the  duck  and  the  goose  in 
"The  Little  Red  Hen,"  and  all  the  time  unconsciously  he  is  learning  rhythm,  co-ordination  and  self- 
expression  in  the  most  delightful  way  in  the  world. 

The  teacher  will  be  glad  to  see  that  all  these  dances,  while  they  allow  for  great  freedom  of  interpretation, 
are  in  class  form, — either  in  line  or  center  formation.  There  is  no  wild  indiscriminate  scattering  over  the 
room  in  the  climax  of  a  dance.  Each  dance  begins  and  ends  in  class  form,  and  so  is  especially  valuable  to 
the  teacher  who  has  short  periods  in  which  to  intruct  her  class. 

I  have  picked  up  the  material  for  these  dances  here  and  there, — mostly  from  the  children  themselves. 
The  "  Dolly  Dance"  was  suggested  by  a  little  girl  who  had  to  be  wound  up  so  that  she  could  do  the  tricks  her 
French  Dolly  did.  "One,  Two,  Three"  was  suggested  by  an  old  German  rhyme.  The  "Vineyard  Dance" 
is  an  old  French  Folk  Dance.  In  planning  out  a  harvest  dance,  I  remembered  a  French  dance,  telling  the 
story  of  the  grape  from  planting  to  harvest.  The  pantomimic  value  of  this  dance  could  not  be  improved 
upon,  but  the  music  had  not  enough  rhythm  for  little  folk,  so  Mrs.  O'Brien  re-arranged  the  music,  keeping 
the  old  air,  but  giving  it  a  marked  rhythm.  The  dramatizing  of  'The  Little  Red  Hen"  and  "The  Goats 
in  the  Turnip  Field"  was  done  last  year  in  a  course  I  gave  on  the  composition  of  dramatic  dances  at  the 
University  of  California. 

This  little  foreword  would  be  incomplete,  indeed,  if  I  did  not  express  my  gratitude  to  the  enthusiasm  of 
my  pupils,  both  teachers  and  children,  who  have  given  me  confidence  to  gather  together  this  material  in  a 
book.  It  is  practical,  I  know,  for  it  has  been  put  to  the  broadest  tests  in  class,  gymnasium,  kindergarten  and 
playground. 

In  closing  I  wish  to  thank  Mrs.  Gregg  O'Brien  for  her  unfailing  sympathy  and  comprehension  of  the 
ideas  I  have  tried  to  express.  Her  music  with  its  marked  rhythm,  simple  yet  charming  airs,  and  of  a  range 
suitable  for  little  voices,  will  make  its  own  friends.     It  needs  no  praise  from  me. 

I  Mary  S.  Shafter. 


435ed;i 


TABLE  OF    CONTENTS 


PART  I 


Arranged  according  to  difficulty 


^: 


3- 
6. 

7. 
7. 
8. 

9- 

lo. 

II. 

12. 

13- 
14- 


PAGE 

PUSSY  CAT 2  15. 

PAT-A-CAKE 2 

ONE,  TWO,   THREE 3  16. 

SEVEN    DAYS,   OR    THE    HOUSEWIFE'S  17 

DANCE 4  18. 

WEE  WILLIE  WINKIE   .......  5  19. 

HARK!  HARK!  THE  DOGS  DO  BARK      .  6  20. 

JACK  AND  JILL      ...-...-.  6  21. 

BYE  LO,   BABY  BUNTING 7  22. 

NAUGHTY  KITTENS ,  8  23. 

POLLY,  PUT  THE  KETTLE  ON       ...  10  24. 

THE  WASHING  DANCE 11  25. 

RIDE  A  COCK-HORSE    .......  13  26. 

DEEDLE,   DEEDLE  DUMPLING       ...  14  27. 

ROCK-A-BYE  BABY 15  28. 

THE  DRILL  CAMP           .......  16  29. 


PAGE 

CHARLEY.      CHARLEY.       STOLE      THE 

BARLEY i8 

BLOW,  WIND,   BLOW     .      • 19 

THE  DOLLY  DANCE 20 

THREE  BLIND  MICE 22 

HICKORY-DICKORY  DOCK 23 

LITTLE  MISS  MUFFET 24 

LITTLE  ROBIN  RED  BREAST      ....  25 

CARPENTER'S  DANCE 26 

DREAM  CHILDREN 28 

TRIP  AND  GO 32 

THE  VINEYARD  DANCE 33 

CAPTAIN  JENKS 36 

BLACKSMITH  DANCE     .     - 37 

WOODCHOPPER'S  DANCE 40 

UZUMATI    DANCE 42 


PART  II 

Dramatizations  of  Stories 

PAGE  PAGE 

1.  THE  LITTLE  RED  HEN 45      4-     THE  THREE  LITTLE  PIGS 52 

5.  THE  THREE  BILLY  GOATS 55 

2.  THE  LITTLE  PINK  ROSE 47 

6.  GOLDILOCKS  AND  THE  THREE  BEARS    .      58 

3.  THE  GOATS  IN  THE  TURNIP  FIELD  .     .     50      7.     CHICKEN  LITTLE 62 


GLOSSARY  OF   DANCiNG   TERMS 


Dancing  in  line  of  direction  :  Moving  around  the  room  with  the  left  hand  toward  the  center  of  room. 
Progressing  to  the  right  hand  side  of  your  entrance  door,  around  the  room. 

Dancing  against  the  line  of  direction  :  In  opposite  direction  above. 

Single  circle :  A  circle  formed  of  children  one  behind  the  other. — making  a  complete  circle,  all  facing 
either  in  line  of  direction  or  against  it. 

Single  circle,  partners  facing :  Single  circle  as  above,  except  one  partner  has  his  right  side  toward  the 
center ;  the  other  his  left  side.      Both  directly  face  one  another. 

Ring  Circle  :  A  single  circle  with  every  child  facing  toward  the  center.      Hands  joined. 

Single  circle^  facing  in  :  Same  as  above,  only  the  hands  are  not  joined. 

Double  circle,  facing  in  line  of  direction  :  Partners  side  by  side,  inside  hands  joined.  Boys  left  hand  at 
hip.      Girls  right  hands  holding  skirt. 

Double  circle,  partners  facing :  Partners  facing  one  another,  the  boy  has  his  back  to  the  circle.  The  girl 
faces  toward  the  center  of  the  circle. 

Charge :  Step  forward,  side,  or  back  with  indicated  foot,  bending  the  knee  of  the  stepping  foot,  and 
keeping  the  other  knee  straight.     Both  feet  are  flat  on  the  floor.      (Return  to  position.) 

Arms — side  horizontal :  Raise  the  arms  to  the  side,  level  with  the  shoulders  (/.<?.,  parallel  with  the  floor.) 

A  front  column  of  two  ranks :  Two  rows  of  children  one  behind  the  other  facing  in  the  same  direction. 
The  front  row  is  the  front  column.     The  little  lines  of  two  in  depth  are  the  ranks. 

Half  Bend :  With  the  body  erect  and  heels  together,  bend  the  knees. 

Full  Bend :  With  the  body  erect,  and  feet  apart,  bend  the  knees,  coming  almost  to  a  sitting  position. 

Left  foot  leading :  Left  foot  in  front,  keeping  right  foot  behind  while  doing  the  step  indicated. 

Pancake  Turn  :  Single  circle,  partners  facing.  Partners  join  hands.  Raise  the  joined  hands  making  an 
arch  on  the  side  toward  the  center  of  the  circle  ;  both  turn  toward  one  another  under  it.  They  are  now  back 
to  back.  Raise  the  arch  made  by  the  arms  on  the  side  away  from  the  center ;  both  complete  their  turn  under 
it  and  are  again  face  to  face. 

Outside  foot :  The  foot  away  from  one's  partner,  when  partners  are  side  by  side. 

Inside  foot :  The  foot  towards  one's  partner,  when  partners  are  side  by  side. 

Outside  hand :  The  hand  away  from  one's  partner,  when  partners  are  side  by  side. 

Inside  hand :  The  hand  towards  one's  partner,  when  partners  are  side  by  side. 

Fou  steps :  Slide  one  foot  to  second  position,  back  to  first ;  slide  the  other  foot  to  second  position,  and 
back  to  place.  This  step  may  be  done  sliding  the  free  foot  to  fourth  position  front  or  rear.  Do  not  progress 
on  this  step,  but  do  at  place. 


PUSSY  CAT 


Pus   -   sy   Cat,  Pus-  sy     Cat,  Where  have  you  been  ?     I've  been  to     Lon-don  to      vis  -  it  the  queen. 


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Pus  -  sy  Cat,  Pus  -  sy  Cat,     What  did  you  there  ?  I      frightened     a      lit-  tie  mouse    un-der  her  chair! 


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FORMATION:  Single  circle,  partners  facing. 

Measure     i  Shake  right  finger  four  times  at  partner. 

Measure     2  Clap  own  hands  demandingly  at  partner. 

Measure    3  Nod  head  condescendingly  at  partner. 

Measure     4  Courtsey  condescendingly  to  partner. 

Measures  5-6  Repeat  Measures  1-2. 

Measures  7-8  Give  right  hand  to  partner,  and  girls  holding  up  skirt  with  outside  hand,  turn  partners  at 
place  with  eight  little  running  steps.  (If  the  children  are  very  small,  have  them  turn  at 
place  without  joining  right  hands). 

Chorus — Do  not  sing. 

Measure    i  Two  slides  toward  center  of  circle. 

Meastire     2  Drop  partner's  hands,  and  clap  own  hands  four  times. 

Measures  3-4      Repeat  above  progressing  away  from  circle. 

Measures  5-8       Repeat  Measures  1-4. 

PAT-A-CAKE 


Pat  -  a -cake!  Pat  -  a-  cake  Bak  -  er's    man. 
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Bake  me    a     cake     as     fast    as    you    can. 


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Pat     it,    and    prick   it     and  mark    it    with      T.      And     bring     it      safe  home  to       ba  -  by   and     me. 


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Measures  3-4 
Measures  5-6 

Measures  7-8 
Measures  9-10 
Measures  11-12 
Measures  13-16 


Double  circle,  partners  facing.     All  sing. 

On  pat t  clap  hands  to  knees,  count  i.     On  a  clap  hands  together,  count  2.     On  cake  clap 

hands  of  partners,  count  3,     Repeat,  count  4—6. 

Shake  right  forefinger  at  partner  three  times. 

Pantomine  the  holding  of  a  bowl  in  the  left  hand,  and  stirring  the  contents  with  a  spoon 

in  the  right. 

Jump  up  and  down  at  place,  shaking  hands  as  if  impatient. 

Pat  it,  clap  hands  together.     And  prick  it,  interlace  fingers  together. 

On  the  left  hand,  mark  off  a  ''T"  with  the  right  forefinger. 

Face  forward,  in  line  of  direction,  and  with  hands  held  at  front  horizontal,  palm  up  as  if 

holding  a  cake,  run  forward  in  line  of  direction. 

ONE,  TWO,  THREE 


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And  jump  in  the  circle,  one,  two,  three. 

Ill 
And  hop  in  the  circle,  one,  two,  three. 

IV 
And  walk  in  the  circle,  one,  two,  three. 


V 

And  run  in  the  circle,  one,  two,  three. 

VI 
And  skip  in  the  circle,  one,  two,  thee. 

VII 
And  bow  in  the  circle,  one,  two,  three. 


(  The  teacher  sings  the  verse,  telling  the  class  to  watch  out  for  what  she  will  request  it  to  do,  on  the  last 
line. ) 

FORMATION:     Single  circle  facing  in.     Do  not  join  hands. 

On  "Clap,  clap,  clap,"  all  clap  hands  three  times. 

On  "Tap,  tap,  tap,"  all  tap  the  right  foot  three  times. 

On  ''Join  your  fingers"  all  in  the  circle  join  hands. 

On  "One,  two,  three,"  all  slide  to  the  right  three  times. 

For  the  succeeding  verses  in  "One,  two,  three,"  do  whatever  the  italicized  word  indicates. 


SEVEN  DAYS 

OR 
THE  HOUSEWIFE'S  DANCE 

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Tuesday  is  the  day  we  iron  our  clothes, 
Iron  our  clothes,  iron  our  clothes; 
Tuesday  is  the  day  we  iron  our  clothes, 
Heigh-ho  for  Tuesday. 

Chorus:     Repeat  abone. 

Wednesday  is  the  day  we  mend  our  clothes, 
Mend  our  clothes,  mend  our  clothes; 
Wednesday  is  the  day  we  mend  our  clothes, 
Heigh-ho  for  Wednesday. 

Chorus:     Repeat  above. 

Thursday  is  the  day  we  make  our  bread, 
Make  our  bread,  make  our  bread; 
Thursday  is  the  day  we  make  our  bread. 
Heigh-ho  for  Thursday. 

Chorus:     Repeat  above. 

Friday  is  the  day  we  sweep  our  house, 
Sweep  our  house,  sweep  our  house; 


Chorus:     Repeat  above. 
Friday  is  the  day  we  sweep  our  house, 
Heigh-ho  for  Friday. 

Chorus:     Repeat  above. 
Saturday  is  market  day, 
Market  day,  market  day; 
Saturday  is  market  day, 
Heigh-ho  for  Saturday. 

Chorus:     Repeat  above. 

Sunday  is  the  Sabbath  day, 
To  church  we  go,  to  church  we  go; 
Sunday  is  the  Sabbath  day. 
Heigh-ho  for  Sunday. 

Chorus: 
Sunday  is  Sabbath  day, 
Sabbath  day,   Sabbalh  day; 
Sunday  is  the  Sabbath  day, 
The  best  day  is  Sunday. 
(^All singing  the  verses  with  accompanying  action.^ 


FORMATION:       Single  circle,  facing  in. 

Measure     i  ** Monday  is  the  day."     All  shake  their  forefingers  earnestly. 

Measure    2  "Wash  our  clothes."     Raise  left  knee  slightly,  use  left  leg  as  a  scrubbing  board  and  rub 

three  times. 
Measures  3-4  Repeat  as  in  Measure  3,  twice  more.  f 

Measures  5-6         Repeat  as  in  Measures  1—3. 

Measures  7-8         ' '  Heigh-ho  for  Monday. ' '     Wave   right   hand   above   head   and    hold   pose    to   end   of 
phrase. 

CHORUS 
All  turn  in  line  of  direcition  and  walk  around  circle  rubbing  the  right  fist  up  and  down  on  tne  open 
palm  of  the  left  hand,  and  on  Measures  10-12  all  squat  down  at  fullbend  *  with  hands,  palms  up,  outstretched 
toward  center,  signifying  the  day's  work  is  done. 

II 
Measure     i  "Tuesday  is  the  day,"     Action  same  as  in  Part  I. 

Measure     2  "Iron  our  clothes."     Pantomine  ironing  back  and  forth  three  times. 

Measures  3-4  Repeat  as  in  Measure  3,  two  times  more. 

Measures  5-6  llepeat  as  in  Measure  1-3. 

Measures  7-8         Repeat  as  in  Measures  11-12.     Part  I. 
*  See  Glossary. 


Measures  i-8 


Measures  i-8 
Measures  i-8 

Measures  i-8 
Measures  i-8 

Measures  i-8 
Measures  i-8 


Measures  i-8 
Measures  i-8 

Measures  1-2 
Measure  3 
Measure  4 
Measures  5-6 
Measures  7-8 

Measures  1-6 
Measure  7 
Measure  8 


SEVEN  DAYS  6 

CHORUS 

Same  as  in  I  with  the  substitution  of  the  ironing  movement  instead  of  the  washing  one, 
and  walking  to  quicker  tempo  around  circle  in  line  of  direction.  In  each  chorus  panto- 
mine  the  actions  indicated. 

Ill 
Formation  same  as  in  I  substituting  the  action  of  stitching 
Chorus  same  as  in  I  substituting  the  action  of  stitching. 

IV 

Formation  same  as  in  I  substituting  the  action  of  kneading  bread. 
Chorus  same  as  in  I  substituting  the  action  of  kneading  bread. 

V 
Formation  same  as  in  I  substituting  the  sweeping  movement. 
Chorus  same  as  in  I  substituting  the  sweeping  moevment. 

VI 

Formation:      "On  Market  day,  etc."      Pantomine  holding  a  basket    on    the   left   arm    and 

putting  things  in  with  the  right. 

Chorus  same  as  in  I  substituting  the  pantomine  of  filling  the  basket 

VII 
Formation  same  as  in  I. 

"To  church  we  go."     Take  skirts  in  tip  01  fingers  and  walk  half  time  to  music. 
Same  as  above. 
Same  as  measures  1—3. 
Same  as  in  Part  I. 

CHORUS 
Walk  in  time  to  music  around  the  circle,  hands  in  prayer  position  and  underneath  chin. 
Turn  toward  center  and  walk  three  steps  toward  center. 
Stand  still  and  incline  head  toward  hands. 


WEE  WILLIE  WINKIE 


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FORMATION:     *  A  ring  circle.     All  sing. 

Measure  i  All  tiptoe  toward  center  four  small  steps. 

Measure  2  All  run  eight  little  steps  till  they  meet  at  center. 

Measure  3  "Upstairs."     All  raise  up  their  joined  hands  as  high  as  they  can  and  "Downstairs." 

All  crouch  down. 
Measure  4  All  rise  and  run  backward  nodding  their  heads. 

Measure  5  All  release  hands  and  face  forward  in  line  of  direction.     Tiptoe  four  steps  forward. 

Measure  6  Run  eight  little  steps. 

Measure   7  All  stop  and  raise  their  hands  high  above  their  heads. 

Measure  8  Cross  arms  over  chest  as  if  cold,  and  run  forwajd  bent  forward,  as  if  chilly. 

*  See  Glossary. 


HARK!  HARK!  THE  DOGS  DO  BARK 

Hark!      hark!        the       dogs       do       bark,      The        beg    -   gars    are     com    -    ing    to     town; 


P 


-^ 


^ 


-«i- 


r 


r 


r 


Some 


rags      and       some       in         tags, 

A 1 V 


And 


some     m 


^ 


vel 


G>    ' 


vet       gowns. 


^^ 


i=a^ 


:S=«: 


:S^ 


a=fcjt 


^ 


-*-H 


-<s— 


"^g^ 

a 


:i 


m 


:i 


6 


8 


ii 


:q: 


?; 


it*- 


■G>    • 


FORMATION: 
Measure    i 

Measure  2 
Measure    3 

Measure  4 
Measure  5 
Measure  6 
Measures  7-8 

Measure    i 
Measure    2 
Measures  3-4 
Measures  4-8 


Single  circle,  facing  in.     All  sing. 

On  "  Hark  "  all  place  right  hand  behind  right  ear  and  lean  slightly  to  right  as  if  listening. 

On  the  second  "hark"  repeat  with  left  hand. 

Slide  four  slides  to  right  in  ring  circle. 

Disengage  hands.     With  left  hand  on  hips,  right  hand  forward,  all  limp  toward  the  center  of 

circle. 

On  the  word  "town,"  extend  right  palm  forward  as  if  begging. 

All  walk  backward  holding  out  skirts  disgustedly. 

All  turn  at  place. 

All  walk  forward  proudly  in  line  of  direction  and  form  a  ring  circle  on  8th  Measure. 

Chorus — Do  not  sing. 

Jump  twice  at  place,  coming  to  *  half  bend  position. 
Three  *fou  steps  at  place. 
Eight  slides  to  right. 
Repeat  Measures   1-4. 


JACK  AND  JILL 


Jack      and     Jill       went 


up 


the      hill 


To       fetch 


pail 


of 


I 


fe 


i 


ter, 
^=3 


US 


:«?: 


aff: 


5^ 


:t=: 


~*v~ 


Jack         fell      down       and     broke         his    crown      And      Jill        came   tumb-  ling         af 


ter. 


i 


itz^^ 


e 


t 


^ 


^ 


*  See  Glossary. 


^ 


iR 


FORMATION:     Two  lines  down  the  center  of  the  room,  about  five  feet  apart.     The  one  at  the  foot  of  the 
*  line  to  the  right,  (facing  them)  is  Jack:   the  one  heading  the  foot  of  the  line  to  the  left  is 

Jill. 

Measures  1-4       All  sing.     Jack  and  Jill  join  inside  hands  and  skip  through  the  lane  of  children  up  to  the 
head  of  lines. 

Measures  5-8  Jack  and  Jill  drop  hands;  about  face,  towards  each  other  and  join  inside  hands  again. 
They  both  start  to  run  swiftly  down  the  lane.  On  the  word  "crown,"  Jack  crouches  down 
with  the  soles  of  his  feet  flat  on  the  floor,  dragging  Jill  down  into  the  same  position.  The 
momentum  of  the  run  will  carry  them  to  the  end  of  the  line.  They  now  drop  hands  and 
each  run  around  outside  of  their  lines  to  the  head;  each  heading  their  respective  lines. 
The  next  two  heading  the  foot  of  the  line  are  Jack  and  Jill,  They  promptly  repeat  the 
eight  measures  above.  The  next  two  are  now  Jack  and  Jill,  and  so  on  down  the  lines  'till 
all  have  had  their  turn. 

Note  :     Have  your  two  lines  take  up  only  half  of  the  room,  as  the  Jacks  and  Jills  running  around  to  the 
head  of  their  respective  lines  will  gradually  use  up  the  vacant  space. 


BYE  LO,  BABY  BUNTING 


Bye 


lo,         ba 


by         Bunt 


mg, 


Pa 


pa  s 


q^^zl: 


:a 


4— i= 


^_=a=^ 


-^»-4- 


i=fc 


iEEt 


'-=^ 


4 


* 


^ 


3= 


gone 


hunt 


ing, 


Gone 


to 


get 


-^ 


S^ 


6 


8 


feE* 


lEEi 


S 


9 


10 


i 


lEE* 


^ 


rab 


bit        skin 


To 


wrap 


the 


ba 


by*       bunt 


^==1: 


=^ 


ing 


:f^: 


:?2= 


ip: 


r 


r: 


11 


12 


13 


14 


i 


te 


15 


±= 


±1: 


±=t 


t 


m. 


Bye 


lo 


ba 


by 


bunt 


ing, 


^: 


16 


17 


18 


fe^ 


19 


20 


t 


* 


^ 


f 


Pa 


pa' s       gone 


BYE  LO,  BABY  BUNTING 

a  -    hunt  -  ing, 


Gone 


to       get 


^^ 


*t 


r». 


:gi 


^ 


21 


3^t 


22 


23 


24 


26 


i 


t^ 


*^ 


^^-^s^ 


f: 


I 


^ 


t=t 


^ 


ing 


^ 


rab 


bit        skin 


To 


wrap 


the       ba 


by        bunt 


^^ 


S^ 


«: 


# 


n; 


28 


29 


30 


31 


32 


^^ 


^ 


i=t 


f^=P=^ 


f 


^ 


^ 


r 


This  little  dance-pantomine  was  constructed  with  the  idea  of  giving  the  children  the  rhythm  of  the  waltz. 

FORMATION:  The  children  stand  in  a  straight  line  close  to  one  another,  and  all  facing  the  same  way. 
They  cross  their  arms  across  their  breasts,  and  each  grasps  his  neighbor's  left  hand  with  his 
right.  This  we  call  weaving  the  cradle.  When  the  cradle  is  woven,  tell  the  class  the 
cradle  must  swing  all  one  way;  then  the  other.  All  stand  with  their  feet  slightly  apart. 
All  sing  the  words. 

Measure     l  Each  child  steps  on  his  right  foot,  swaying  his  body  to  the  right. 

Measure    2  Each  child  steps  on  his  left  foot,  swaying  his  body  to  the  left. 

Measures  3-16  Repeat  Measures  1-2. 

Measures  17-20  Repeat  as  above,  only  with  accented  rhythm. 

Measures  21-22  Lunge  forward  on  right  foot.  Release  hands,  and  each  extends  the  left  arm  to  front 
horizontal  as  if  aiming  a  gun. 

Measure    23  Pretend  to  pull  trigger  with  right  forefinger,  at  same  time  stamp  rear  foot  on  the  word 

"hunt." 

Measure    24  Hold  the  pose  of  Measure  23. 

Measures  25-26     All  run  forward  six  steps. 

Measures  27-28     All  stoop  down  and  pretend  to  pick  up  the  rabbit  skin. 

Measures  29-32  Each  crosses  his  arms  as  if  wrapping  the  rabbit  skin  tight  around  him,  and  turns  at  place 
with  little  running  steps.  On  the  last  measure  all  get  in  line  as  at  first.  Their  hands  are 
already  crossed  ready  to  weave  the  cradle  as  at  first. 

Repeat  all  either  in  the  same,  or  opposite  direction. 

NAUGHTY  KITTENS 


Oh,     moth   -    er        dear,      come        here,      come        here! 

-A m- 


^^ 


J        J        J        J 


^ 


Meow,      meow,        meow! 


33^ES 


3 


4#L_l ^_ 

■<l#  ■  • -tH*- 

-<^ ; •*£•- 


3£± 


NAUGHTY  KITTENS 

Oh,    moth  -  er      dear,     come      here,    come  here,    our  mit  -  tens 


we     have       lost! 


3^5 


^ 


-5? =1- 


5 


8 


m 


r^ 


Measures  i-8 


It  would  be  well  in  this  little  game  for  the  teacher  to  take  the  part  of  Mother  cat,  until  the  pupils 
become  familiar  with  the  words  and  air. 

FORMATION:  Single  circle,  facing  in.  One  child  in  the  center.  Those  forming  the  circle  are  the 
kittens;  the  one  inside  the  circle  the  Mother  cat.  The  success  of  this  little  game  is  greatly 
dependent  on  the  motions  depicted  on  the  Meows. 

The  circle  all  sings,  putting  their  hands  behind  them. 

I 

(a)   Kittens:      "Oh  Mother  dear,   we  greatly  fear. 
Meow,  meow,  meow!      {^Plaintively.^ 
Oh  Mother  dear,  we  greatly  fear 
Our  mittens  we  have  lost." 

{b)  Mother.      (Sings  alone.)      "Lost  your  mittens,   you  naughty  kittens. 

Meow,   meow,   meow!      (Angrily.) 
Lost  your  mittens,  you  naughty  kittens 
Then  you  shall  have  no  pie." 

On  the  first  three  lines  the  Mother  cat  runs  around  the  circle,  looking  for  the  mittens  and  making  little 
spats  with  her  right  hand  at  the  children  as  she  passes. 

On  the  fourth  line  she  stops  and  rubs  her  mouth  with  her  two  fists,  cat- fashion,  ending  with  a  negative 
shake  of  her  head. 

II 
Kittens  hold  their  hands,  thumb  and  forefinger  down  as  if  holding  a  glove  in  each  hand. 

(a)  Kittens:      "Mother  dear,  see  here,  see  here, 
Meow,  meow,  meow!      (Joyfully.) 
Mother  dear,   see  here,   see  here. 
For  we  have  found  our  mittens." 

On  fi'st  and  third  lines  shake  hands  up  and  down  as  if  to  attract  the  mother's  attention. 

(b)  Mother  Cat:      "You  silly  kittens,  put  on  your  mittens, 
Meaw,   meow,  meow!      (Reprovingly.) 
You  silly  kittens,  put  on  your  mittens. 
And  you  shall  have  some  pie." 

In  first  and  third  lines,  on  "You  silly  kittens,"  the  mother  shakes  her  finger  reprovingly. 

On  "Put  on  your  mittens,"  pantomine  the  putting  on  of  a  glove.  The  fourth  line  is  the  same  as  the 
fourth  line  in  I  (b),  except  she  ends  with  an  affirmative  nod.  All  in  the  circle,  imitate  her  movements  on  the 
fourth  line,  and  rub  their  mouths  with  their  fists  as  if  brushing  crumbs  off. 

Ill 
(a)  Kittens:      "Oh  mother  dear,  we  greatly  fear. 
Meow,  meow,   meow!      (Fearfully.) 
Oh  mother  dear,   we  greatly  fear 
We  have  soiled  our  mittens." 

On  the  first  and  third  lines,  the  children  look  at  one  another's  hands,  and  pantomine  their  consternation. 

On  the  fourth  line,  scratch  with  forefinger  of  one  hand  at  palm  of  other  as  if  trying  to  get  rid  of  a  spot, 
left  by  the  pie. 

{b)  Mother:     "You  naughty  kittens,  you've  soiled  your  mittens," 
Oh  my,  oh  my,  oh  my." — 

Repeat  above  two  lines 

On  the  first  three  lines  the  mother  runs  'round  the  circle  catching  up  both  hands  of  one  here  and  there 
and  looking  at  them  with  disgust. 

On  the  fourth  line,  she  stops  running  and  puts  both  hands  up  in  despair. 


10 


NAUGHTY  KITTENS 


IV 

Kittens:     **0h,  mother  dear,  come  here,  come  here! 
Meow,  meow,  meow!     (^Jubilantly.') 
Oh,  mother  dear  we've  washed  our  mittens 
And  hung  them  out  to  dry." 

On  first  line,  all  beckon  to  the  one  in  the  center. 

On  the  second  line,  rub  right  fist  to  and  fro  on  palm  of  left  hand. 

On  the  third  line  pantomine  putting  the  mittens  on  a  clothes  line,  one  clothes  pin  for  each  glove. 

Mother:      "Oh,  you're  good  kittens,  you've  washed  your  mittens, 

Meow,  meow,  meow!      (^Excitedly,  looking  from  side  to  side.) 
Hush,  hush,  my  dears,  prick  up  your  ears, 
For  there's  a  rat  close  by!  " 

On  the  first  line,  the  one  in  the  center  crosses  her  wrists  under  her  chin,  hands  hanging  down,  and  looks 
at  the  circle  admiringly. 

On  third  line,  she  uncrosses  her  wrists,  and  puts  her  clinched  hands,  knuckles  forward,  underneath  her 
chin,  as  if  getting  ready  to  spring. 

On  the  fourth  line,  the  class  place  their  fists  similary  to  the  one  in  the  center  and  all  squat  down  looking 
fixedly  at  a  spot  about  two  feet  in  front  of  them. 


POLLY,  PUT  THE  KETTLE  ON 


Pol     -    ly,        put        the      ket   -    tie         on, 


Pol   -  ly,       put      the      ket   -  tie       on; 


P 


LL_*- 


i 


P^^ 


5^=E 


ta 


-^ 


Pol     -     ly,  put  the         ket     -     tie  on, 


We'll         all 


have 


tea. 


6 


m 


8 


'^ 


P 


Chorus,  ( brisk,  for  skipping 


4     ^ 


-^ • — #■ 


i 


s       1 


Is      1        ^- 


POLLY,  PUT  THE  KETTLE  ON 


11 


6 


m=t. 


8 


.m 


^ 


II 
Sukey,   take  it  off  again, 
Sukey,   take  it  off  again, 
Sukey,   take  it  off  again, 
They've  all  gone  away. 

FORMATION:      Single  circle.     Partners  facing. 

I 

Measures  1-2       Arms  at  side  *  horizontal,   hands   joined.      At  the  word  "on,"   bring  the    joined  hands 
across  one  another  between  partners  with  emphasis. 

Measures  4-6       Repeat  above  twice. 

Measures  7-8       Nod  head  at  partner. 

II  * 

Measures  1-2       Hands  still  at  crossed  position  between  partners  till  the  word  "off,"  when  they  force  their 

arms  abruptly  to  side  horizontal. 

Measures  3-6      Repeat  above  twice. 

Measures  7—8       Stamp  feet  three  times,  vexatiously. 

CHORUS 
FORMATION:     Double  circle.     *  Inside  hands  joined. 
Measures  1-6      Skip  in  line  of  direction. 
Measures  7—8       *  Pan -cake  turn,   towards  center  of  circle. 

i^Music  played  slowly  on  y—S  in   Chorus.^ 
Note:     Do  not  sing  during  the  Chorus.  , 


THE  WASHING  DANCE 


Allegretto 


-^ *- 


*      d- 


1^ ^ 


^ilr 


^zz 


:^=t: 


pE^^^^ 


A:=zt- 


3 


8 


:^=t: 


-q — ^ 


*  See  Glossary. 


12 


THE  WASHING  DANCE 


Tz  rn 


^     m 


^ 


^ 


p— r — ^ 


i 


^ 


^ — r 


i 


3 


^^^ 


IF=F=F 


« 


8 


ig)j)t  J      .  f: 


4t- 


? 


I  ■    q- 


? 


FORMATION 
Measures  i-8 


FORMATION: 
Measures  1-2 
Measures  3-4 
Measures  5-6 

Measures  7-8 


There  is  a  great  deal  of  pantomine  in  this  dance.  The  teacher  must  be  the  leading  spirit  and  direct  the 
childs  thoughts  to  each  new  activity  before  commencing  its  portrayal.  The  music  is  played  straight  through 
once  for  each  progression. 

I.    GOING  TO  THE  POND 

*  Single  circle,   facing  in  line  of  direction. 

Little  girls  pantomine  the  holding  of  their  wash  in  their  aprons  or  skirts;  the  little  boys 
under  their  arms.      Walk  in  line  of  direction  through  first  phrase  of  music. 

2.    AT  THE  POND 

*  Single  circle,  facing  in.     Do  not  join  hands. 

"Wash  your  clothes."     Each  child  pantomines  the  rubbing  of  clothes  on  the  up-raised  knee. 
"Wring  them  out."     Each  child  vigorously  twists  his  imaginary  garment. 
"Flap  them  up  and  down  and  get  the  wrinkles  out."      Each  child  shakes  the  clothes  up 
and  down. 

"Now  we've  finished  our  work  let's  gossip."     Each  child  shakes  his  finger,  confidentially, 
at  the  one  nearest  him. 

(/«  .2,  the  best  results  >are  obtained  if  the  teacher  gives  the  directions  as  the  music  is  playing.') 

3.    HANGD-IG  UP  THE  CLOTHES 
Same  as  2.     "  Here  are  our  clothes  lines.     Have  you  your  bag  of  clothes-pins  at  your  side?" 
Pantomine  taking  out  two  clothes-pins  from  bag. 
Pantomine  putting  the  two  clothes-pins  on  a  garment. 
Repeat  above  three  times  more. 

4.    TAKING  DOWN  THE  CLOTHES 
Same.      " Our  clothes  are  dry.      Let's  take  them  down.     Take  out  your  clothes-pins." 

Pantomine  the  taking  out  of  the  two  clothes-pins. 
Pantomine  the  putting  the  two  pins  into  the  bag. 
Repeat  above  three  times  more. 

5.    GOING  BACK  TO  THE  HOUSE 
Single  circle,  facing  in  line  of  direction.      "Now  we'll  go  back  to  the  kitchen  to  iron." 
Place  clothes  on  left   arm  with  right  hand  and  walk  around  the  circle  to  end  of  strain 
of  music. 

*  See  Glossary. 


FORMATION: 
Measure     i 
Measure     2 
Measures  3-8 

FORMATION: 

Measure  i 
Measure  2 
Measures  3-8 

FORMATION: 
Measures  1-8 


THE  WASHING  DANCE 


13 


6.    GETTING  READY  FOR  IRONING 

FORMATION:  Single  circle,  facing  in.  "Put  your  clothes  down  on  the  ironing  board.  Turn  on  your 
electric  iron,     Now  get  the  wrinkles  out  ready  for  ironing." 

Measure     i  Pull  the  clothes  twice  length-ways. 

Measure     2  Pull  the  clothes  twice  cross-ways. 

Measures  3-8       Repeat  three  times  more. 

7.    THE  IRON 

Measures  1-2       "Lei's  see  if  the  iron  is  too  hot."      Hold  the  iron  close  to  one's  cheek. 

Measure     3  "Yes,  it's  pretty  hot.     Let's  see  if  it  would  burn  our  clothes. "     (Count  two  to  a  measure.) 

On  count  one,  touch  left  fore-finger  to  tongue.  On  count  two,  pantomine  the  touching  of 
the  iron  in  the  right  hand  with  the  wet  finger.  At  the  same  time  give  the  sound  s-s-s  in 
semblance  of  steam. 

Measure     4  Touch  fore-finger  twice  more  to  iron,  and  s-s-s  as  before. 

Measures  5-8       Repeat  as  in  measures  3-4,  twice. 

8.    READY  FOR  IRONING 
Measures   1-8       "Now  let's  iron."      (2  strokes  to  a  measure.)      Pantomine  the  stroke  of  the  iron  to  and  fro. 

9.    FOLDING 
Measures  1-8       "Now  let's  fold  them  up." 

10.    TAKING  THE  CLOTHES  UP-STAIRS 
"Now  let's  go  up-stairs  and  put  our  thing.s  away.      Lift  your  feet  high,  or  you'll  stumble." 
FORMATION:     Single  circle,  facing  in  line  of  direction. 
Measures  1-8       Walk  around  circle,  lifting  feet  high  and  pantomining  the  carrying  of  clothes. 

11.    PUTTING  THE  CLOTHES  AWAY 

Measures  1-8  "Here  is  our  bureau.  Let's  open  the  drawers  and  put  the  wash  away."  Pantomine  the 
opening  of  a  drawer,  the  putting  the  clothes  in  rnd  the  shutting  of  the  drawer.  Make 
the  final  shutting  of  the  drawer  be  on  the  last  note  of  the  music. 

Notf:  One  can  elaborate  the  pantomine  in  this  little  dance  as  much  as  one  has  the  time  or  wish  for. 
The  best  results  are  obtained  by  stopping  one's  pianist  betAveen  each  progression  and  explaining  to  one's 
children  what  is  to  take  place.  It  is  best  for  the  teacher  to  act  with  the  class,  making  comments  as  the 
action  proceeds. 

RIDE  A  COCK-HORSE 

Ride     a    cock-horse,     to      Ban- bar -ry  Cross      To       see     an     old     la  -  dy    ride    on      a   white  horse; 


Rings  on    her    fin    -    gers,   bells    on    her  toes, 


She'  11  make  fine  mu  -  sic  wher  -  ev  -    er     she  goes. 


::1z=q: 


:^=q: 


=1: 


:^ 


-^- 


-ai 1 1 1- 

^— «— a!— ^ 


6 


8 


---X 


i^ 


■^ 


^r 


s 


=1: 


^^ 


14  RIDE  A  COCX-HORSE 

FORMATION :     Single  circle,  facing  in  line  of  direction.     All  extend  their  clinched  hands  forward  as  if 
holding  reins.     All  sing. 

Measures  1-2      Gallop  around  the  circle. 

Measures  3-4      Trot  very  slowly. 

Measure    5  All  face  toward  center  and  hold  up  fingers  of  left  hand.     All  mark  off  each  finger  as  they 

sing:     " Rings  on  her  fingers. " 
Measure    6  Hold  up  left  foot  across  right  knee.     Pat  foot  four  times,  "Bells  on  her  toes." 

Measures  7-8      Slide  alternating  feet  rapidly  forward  and  back  to  place,  at  the  same  time  shaking  hands  in 

air.      "She  shall  have  music  wherever  she  goes." 

CHORUS     {Same  music.) 
FORMATION:     Face  partner,  single  circle,  and  join  hands  at  side  horizontal. 
Measures  1-2      Slide  4  slides  toward  the  center  of  the  circle. 

Measures  3-4      Slide  alternating  feet  rapidly  to  side  and  back  to  place  (*fou  steps.) 
Measures  5-8      Repeat  Measures  1-4  toward  the  outside  of  circle. 
Measures  1-8      Repeated.     Repeat  action. 


DEEDLE,  DEEDLE  DUMPLING 

Dee  -  die,     Dee  -  die      Dump  -    ling,         my         son        John! 


Went 


to 


i 


m 


i 


* 


% 


m 


bed 


with     his        stock 


ings 


1 


One 


shoe 


off 


i 


6 


^' 


8 


9 


£ 


m 


^ 


*: 


10 


^ 


and  one        shoe         on, 


i 


Dee  -  die,    Dee  -  die       Dump  -  ling, 


my 


son         John! 


¥ 


^ 


11 


If: 


12 


13 


14 


15 


m 


* 


* 


P 


16 


r>- 


9-r- 


^^ 


^ 


^ 


f=t=j= 


FORMATION:       Single  circle,  partners  facing.     Hands  on  hips. 

Measure    i  Count  " one  and  two  and "  to  a  measure.     All  sing  verse.     On  counts  "one-two,"  jump 

with  both  feet  together. 
Measure    2  Repeat  Measure  i. 

Measure    3  On  count  one  clap  hands  to  hips,  body  back  as  if  laughing.      On  count  two  clap  own 

hands  together. 
Measure    4  On  count  one  clap  both  hands  to  partner's  hands,  body  bent  forward  as  if  finishing  laugh. 

Measures  5-8         All  face  in  line  of  direction  and  run  tiptoe  around  circle. 
Measure    9  All  step  and  hop  forward  on  right  foot.     Step  forward  on  left. 

Measures  10-12     Repeat  Measure  9  three  times  more. 
Measures  13-16     Repeat  Measures  1-4. 

*  See  Glossary  • 


DEEDLE,  DEEDLE  DUMPLING 


i5 


I] 


FORMATION:  As  in  I,  only  both  hands  joined. 

Measures  1-2  Same  as  Measures  1-2,  I. 

Measures  3-4  Same  as  Measures  3-4,  I. 

Measures  5  8  Both  hands  joined  with  partner  again  and  turn  partner  at  place  with  little  running  tiptoe 
steps,  and  ending  with  sides  toward  center,  partners  facing  and  hands  at  side — horizental. 

Measures  9-10  Four  hops  on  foot  toward  center. 

Measures  11 -12  Four  hops  on  foot  away  from  center. 

Measures  13-16  Same  as  Measures  1-4. 


Waltz  tempo 
Rock   -   a     -    bye 


ROCK-A-BYE  BABY 

Ba     -  by,       thy        era   -     die  is        green, 


Fa    -    ther'  s 


^ 


a=* 


g 


ISEs 


5 


^ 


I 


I 


5=? 


^IMe 


rh=r 


E 


no    -   ble  -  man,     Moth  -  er's         a        Queen, 


And    Sis  -   ter's 


la    -    dy        and 


-u 


W- 


1?^ 


"^ 


Wz 


6 


8 


9 


10 


^ 


wears     a       gold     ring, 


And  John  -  ny'  s       a 


drum  -  mer      and  drums     for       the     Queen. 


T- 


'-^^ 


G>    ' 


11 


12 


13 


14 


:::^==^ 


--^ 


i 


i 


15 


16 

?-  • 


i 


FORMATION: 
Measure  i 
Measures  2-4 
Measure  5 
Measure  6 
Measure  7 
Measure    8 

Measures  9-12 
Measures  13-16 


Double  circle.      Partners  facing;  both  hands  joined.     All  sing. 

Swing  joined  hands  in  line  of  direction  and  back  again — gently  as  if  swinging  a  cradle. 

Repeat  Measure  i   three  times. 

Drop  hands  and  pass  partner  with  three  quick  steps. 

About,  face  and  bow,  heels  together,  right  hand  over  heart.      "  Father's  bow." 

Drop  hands  and  pass  partner  with  three  quick  steps. 

Step  in  line  of  direction,  count  one.     Step  back  with   free  foot,  count  two,  and  bow, 
count  three.      "Mother's  bow." 

Join  right  hands,  holding  them  high,  and  turn  in  place  with  four  slow  steps,  holding  left 
arm  out  straight  at  side;  back  of  the  hand  up,  as  if  admiring  a  ring. 

Drop  right  hands  and  face  forward,  with  double  circle,  in  line  of  direction.     March  briskly 
forward  twelve  steps,  beating  on  imaginary  drum  in  time  to  the  music. 


16 


(a)    I.    REVEILLE      1 


THE  DRILL  CAMP 

2  3 


fe 


^S 


i 


5 


ii      m    M_ 


Fine        '    8  (6) 


10 


^  J  J^  I  Jij   m   Ji-^ij  nJ   .T  J^ 


ISlt 


11 


12 


13 


14 


15 


16 


i^'  J   J 


3 


-9^    ^    tt      iL 


m    d       ^ 


3± 


^       J^    ^    *- 


n.    ASSEMBLY        1 


2 


i 


a 


^ 


g 


^       ^  '  1^ 


^ 


s 


Tiz -— atz—nt 


jitn^ 


J 


m.    MARCH  TO  DRUMS 


Sp.^  *rp.^ 


j,^  *  '^4  *       ^*  * 


^ 


s 


:i 


i: 


IV.    FIRING  SQUAD 


I 


fe 


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6 


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i 


r 


-« jT 


—I :! -4^T 


8 


^    ^ — «*- 


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Ti* 1^ 


1^^ 


-J-      -J-        -J- 

10 

k     N      ^ 


i 


m      m    d 


11 


I 2*— d — ^ 


^1^ 


m 


r=4: 


3^ 


12 


¥     'p      ¥ 


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13 


^^ 


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-¥    ¥      ¥ 


j^    d     d 


14 

r  r  r^ 


^— ^ 


15 


1^=1= 


16 


i&^i=^ 


1 


1 


THE  DRILL  CAMP 
V.    MARCH  OFF  PARADE  GROUND 


1^ 


l3S 


^ 


:^  J  > 


^r^ 


■=t^ 


itzp 


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labt^ 


IL 


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^ 


17 


^^B 


rV.    TAPS 

1 


6 


8 


S=^it 


m 


I 


iit 


iit 


Measures  1-2 


Measures  3-16 


FORMATION :     Single  file  facing  toward  teacher,  who  is  standing  at  head  of  the  line,  a  little  to  to  the  right. 

I.    REVEILLE 
Class  raise  their  right  hands  to  the  lips  as  if  holding  a  bugle.     Left  hands  at  hips.      (See  note  at  end  of 
the  description  of  dance.) 

n.    ASSEMBLY 

Class  face  to  right  and  begin  to  mark  time,  beginning  with  the  left  foot.  Hands  as  if  holding  a  rifle  at: 
"Right,  shoulder  arms."  Barrel  of  gun  over  shoulder  (right),  holding  but  of  the  gun  in  right  hand.  Left 
hand  at  side. 

m.     MARCHING  TO  DRUMS 

Measures  1-4       Still  marking  time,  beat  on  an  imaginary  drum  with  right  hand  in  time  with  the  music. 
Repeat,  marching  in  line  of  direction. 

rV.    FIRING  SQUAD 

Count  "i  and  2  and"  to  the  first  measure.  "3  and  4  and"  to  the  second  measure. 
Beginning  with  left  foot  take  three  steps  at  place;  pantomining  the  holding  of  the  barrel  of 
the  gun  towards  floor.  On  count  "4"  *  charge  back  on  right  foot,  raising  left  arm  to 
front — horizontal,  as  if  it  were  a  gun,  and  pulling  trigger  with  right  forefinger;  right  elbow 
level  with  shoulder. 
Repeat  above  seven  times  more. 

V.    MARCH  OFF  PARADE  GROUNDS 

All,  right  face,  and  beginning  with  left  foot,  mark  time  with  the  music  to  end  of  phrase.  "Right, 
shoulder  arms. "      See  II. 

VI.    TAPS 
Charge  right  foot  to  side  and  lay  imiginary  rifle  on  floor. 

Slip  imaginary  strap  that  holds  the  drum  from  the  left  shoulder  over  the  head,  and  place 
drum  by  the  rifle  on  floor. 
Stretch  hands  above  head,  and  yawn. 
Fold  hands  together  at  right  side  of  chin. 
Head  drops  on  folded  hands;  eyes  tight  shut.     Asleep. 

I 

Repeat  (a)  of  Reveille,     All  awake  taking  the  pose  of  I  at  the  first  note. 

Note  :  Explain  the  different  bugle  calls  and  what  they  mean.  Interest  the  child  in  the  drill  of  the 
soldier  at  his  army  post,  all  over  this,  our  land,  and  there  will  be  a  notable  accession  of  precision  and  rhythm. 
For  instance,  you  will  find  your  class  much  more  interested  in  Reveille  if  you  will  sing  the  words  that  the 
soldiers  have  made  historic : 

(a)      "We  can't  get  'em  up!    We  can't  get  'em  up! 
We  can't  get  'em  up  in  the  morning! 
We  can't  get  'em  up!    We  can't  get  'em  up! 
We  can't  get  'em  up  at  all. 

(<5)     The  private's  worse  than  the  sergeant. 

The  sergeant's  worse  than  the  lieutenant, 
The  lieutenant's  worse  than  the  captain, 
And  the  colonel's  worse  than  them  all. 
*  See  Glossary. 


Measures  1-2 
Measures  3-4 

Measures  5-6 
Measure    7 
Measure    8 

Measures  1-16 


18 


:fi 


Char 

f5 


CHARLEY,  CHARLEY,  STOLE  THE  BARLEY 

the      bar       -       ley       Out        of     the     bale  -  er's     shop, 


ley,    Char      -      ley,     stole 


4 1- 


:1=T 


EJ 


fa^^ 


2 


3 


^ 


4 


S 


"3^ 


The     ba-ker  came  out     and    gave  him   a  clout.     And  made      poor  Char    -    ley     hop,     hop,     hop. 


FORMATION :       Double  circle,  partners  facing.      The  baker  is  in  the  center  of  the  circle. 

The  children  in  the  outside  circle  impersonate  *  *  Charley. ' '  Those  on  the  inside  the  bags 
of  barley.  The  bags  make  a  very  small  circle  in  the  center,  hiding  the  baker  from  view. 
The  "Charleys"  forming  the  outside  circle  are  quite  a  distance  from  their  respective  bags 
in  the  center  j  but  opposite  them. 

Meastires  1-2  Those  in  the  outside  circle  creep  in  stealthily.  On  the  word  Barley  they  take  hands  of 
their  respective  partners  in  the  inside  circle,  and  ttiming  their  backs  they  bring  the  hands 
of  one  impersonating  the  sack  over  their  shoulders. 

Measures  3-4         Charley  and  his  sack  run  to  where  they  started  from, — i.e.,  in  the  outside  circle. 

Measure     5  In  same  position,  both  run  in  line  of  direction.      At  the  same  time  the  baker  wakes  up  to 

to  the  fact  that  his  bags  are  being  stolen  and  choosing  his  victim  pursues  him. 

Measure     6  The  baker  catches  the  Charley  he  has  selected  and  gives  him  a  light  slap  on  the  shoulder. 

All  the  Charleys  immediately  drop  their  bags,  which  being  lifeless,  of  course,  do  not  move. 

Measure     7  All  the  Charleys  run  toward  center  of  circle  with  every  symptom  of  distress,  pursued  by 

the  baker. 

Measure     8  The  Charleys  end  their  progress  towards  the  center  of  circle  with  three  hops,  with  hands 

and  arms  up  as  if  protecting  themselves  from  the  baker's  blows. 

The  bags  being  on  the  outside  of  the  circle,  are  now  the  Charleys  of  our  little  game,  the 
ines  in  the  center  are  bags  and  face  outward,  and  the  baker  ensconces  himself  in  the 
center  ready  for  repetition. 

Note  :     Be  careful  not  to  let  the  children  carry  one  another.     Get  all  the  pantomime  in  that  you  can : 
the  theft,  the  fear  of  detecting,  the  running  with  pretended  weight,  the  punishment  and  flight. 


-^^Hl:^ 


BLOW,  WIND,  BLOW  I 


19 


Blow,  wind,    blow.       Go       mill,     go!     That  the       mill  -  er    may  grind     his         com;       That    the 


I 


3:^: 


^=t=t=r=^(==|: 


^ 


ba  -  ker  may  take    it.  And     in  -    to  rolls  make    it,    And  send         us  some    hot       in     the  morn. 


'd      S- 


--f^- 


JtLlZMt. 


:2i 


5 


G 


t 


-^^ 


=r 


-^y- 


FORMATION  :       Double  circle,  partners  facing. 

Measure     i  All  sing  ''Blow,  wind,  blow."     On  "blow,"  all  raise  their  right  hands  and  lower  their 

left,  making  with  their  partners  (who  are  facing)  the  figure  of  a  windmill. 

On  **  wind,"  raise  the  left  arm  and  lower  the  right. 

On  "blow,"  change  position  of  arms  as  before.     This  represents  the  turning  of  the  mill. 

wheel. 
Measure    2  "Go,  mill,  go."     Repeat  movements  of  measure  i. 

Measures  3-4         "That  the  miller  may  grind  his  com."     Each  makes  a  rotary  movemet  with  the  right 

fist  over  the  left  fist. 
Measure    5  Those  on  the  outside  of  the  circle  hold'their  hands  palm  up,  toward  their  partners.      On 

the  word    "baker,"    the  inside   circle  clap  their  hands  down  gently  on  their  partner's 

hands,  as  if  taking  something. 

On  "take,"  each  clap  their  own  hands  together. 
Measure     6  "And  into  loaves  make  it."      Hold  hands  in  the  position  of  holding  a  big  ball. 

Measures  7—8         "  And  send  us  some  hot  in  the  morn," 

Each  jump  around  at  place,  clapping  their  own  hands,  and  facing  partner  as  in  beginning. 

CHORUS, 
Measure     i  Jump  feet  apart ;   then  together ;  hands  on  hips. 

Measure    2  Repeat  above. 

Measures  3—4         Partners  join  hands  and  turn  in  place  with  little  running  steps,  feet  close  together,  knees 

straight,  and  bodies  held  back. 
Measure    5  Turn  back  to  back  quickly  and  jump  feet  apart  and  together. 

Hands  on  hips. 
Measure    6  Same  position  and  same  step  as  measure  5. 

Measures  7-5         Each  turns  at  place  with   little  running  steps,  and  ending  facing  partner  on  last  chord. 

Hands  on  hips. 

During  the  chorus,  omit  singing. 


20 


THE  DOLLY  DANCE 


Allegretto  moderato 

The     best         French  dol 


-    lies     walk      like     this. 


Walk     like     this, 


walk     like  this: 


g):r»    M 

J  J  '  '    i^ 

1 

~* — ? — * — t — t — 

2 

=5— ^:Sr-^- 

1     /    J 

w 

3 

— =1 — 

4 

1                   N^ 

^!i  ^ 

hf— t r-. — ' k- 

'    ^    1 u- 

I— « — ^ 

— »■ — 
— 1 — 
— k— ^ 

— m ^ 1 

The 

A 

best 

French  dol  -    lies 

walk 

like     this, 

1 

Walk 

like      this     you 

W              1 

know. 

r 

J                        P 

1 

h      1        -,,--,.- 

>            K 

*         « 

fc.           1 

H 

'           !           J         J 

.  _.   .._.. 

If  \         1 

-*                     ■-          • 

m              \ 

^ 

m           ^         ^ 

P               R 

V'        J 

J 

^                                                ■*■■■ 

mm 

1 

CM 

5 

— M  r    f — -^ 

6 
-1 ^ 

^3 

7 
« 

8 

-•-  • 
— ^ . 

g?--^ 

— t — 

"i i ' '^^~ 

w — 

-C — F— 

— ha — 

— 1 

— ^ 1 =»- 

-p-- 

-*-H 

— 1^ 

— 1^ — 1 

'  r   - 

U 

The  best  French  dollies  run  like  this,  etc. 

The  best  French  dollies  hop  like  this,  etc. 

The  best  French  dollies  bow  like  this,  etc. 

The  best  French  dollies  turn  like  this,  etc. 

The  l)est  French  dollies  jump  like  this,  etc. 

The  best  French  dollies  talk  like  this.     Say  "  Mamma  !" 


Say  "Papa!"     The  best  French  dollies 
talk  like  this.     Say  "Mamma!"    "Papa!" 

8.   The  best  French  dolls  run  down  like  this  ;  Run  down  like  this;  run  down  like  this  ;  llun  down  like  this. 
The  best  French  dolls  nm  down  like  this — Run — down — like — this. 


FORMATION:       Single  circle,  facing  in  line  of  direction. 

Measures  i-8         Class  sings _/?rx/  v^rs^  through,  walking  in  stiff  doll-like  fashion,  around  the  circle. 

Measures  i-8         Second  verse.     Class  runs  stiffly,  moving  arms  up  and  down. 

Measures  i-8  Tliird  verse.     Class  hops  on  right  foot,  still  progressing  around  circle. 

Measures  i-8         Fourth  verse.     On  this,  face  in  toward  center  of  circle.     Class  bows  stiffly  from   hips ; 

some  to  side,  some  to  front.     No  unanimity  about  the  direction  of  bow. 
Measures  i-8         Fifth  verse.     Each  turns  at  place. 
Measures  i-8         Sixth  verse.     Each  jumps  at  place  ;  sometimes  on  both  feet  flat  footed ;  sometimes  on  one 

foot  while  the  other  foot  is  in  Bleking  position, — i.e.,  heel  down,  toe  up. 
Measures  l-8         Seventh  verse.     Class  stands  at  place  in  similar  circle  facing  toward  center.     As  they  sing 

"  Mamma,  Papa  !"   they  turn  their  heads  stiffly  to  one  side,  then  to  other. 
Measures  1-4         Eighth  verse.     Each  raises  hands  to  vertical,  and  bending  body  at  hips,  by  sharp  gradua- 
tions, bends  body  forward  till  hands  almost  touch  the  floor. 
Measure     5  Bring  body  and  arms  to  vertical  with  a  series  of  jerky  movements. 

Measures  6-7         Run  down  as  again  as  in  Measure  1-4. 
Measure     8  With  legs  stiff,  let  the  whole  body  slump  forward  with  shoulders  and  head  relaxed  and 

arms  limply  hanging. 

The  teacher,  if  she  so  desires,  can  then  tour  the  circle  and  wind  each  dolly  up,  preparatory 

to  repeating  the  dance. 

Note  :  To  get  the  full  pantomime  value  from  this  little  dance,  explain  what  a  really  good  French  doll 
can  do.  Then  ask  different  members  of  the  class  to  explain  what  their  idea  of  what  a  doll's  walk,  Jump,  etc., 
would  be  like.  Then  explain  all  dolls  are  not  alike,  so  each  child  will  portray  its  own  little  conception  of 
the  part.  Explain  to  them  that  from  the  time  the  music  begins  till  it  stops,  they  are  no  longer  little  boys 
and  girls,  but  dolls  and  must  move  their  arms,  and  legs,  and  heads  as  such. 


21 
THE  DOLLY  DANCE 

(For  Exhibition  Purposes.) 

Choose  two  of  the  best  members  of  the  class,  or  better  still  two  larger  children  from  a  more  advanced 
grade.     One  will  be  shopkeeper,  and  the  other  a  prosj)ective  buyer.     The  class  will  be  the  dolls. 

The  children  form  in  circle.  The  music  is  played  softly  through  twice.  At  the  first  note  the  children 
take  their  attitudes.  The  shopkeeper  busies  himself  with  dusting  off  the  dolls,  fixing  their  hair-ribbons,  moving 
their  arms  and  hands  in  more  varied  positions. 

During  the  second  playing  of  the  phrases  of  music,  the  buyer  appears  and  enters  the  circle  attracting  the 
attention  of  the  shopkeeper. 

The  buyer  sings  the  following  verses,  illustrating  them  with  the  obvious  pantomime  that  the  verses  suggest. 

Buyer  :  This  is  the  shop  where  the  dollies  are.  French  dollies  they  are.  French  dollies  they  are. 
(Looks  around  circle.) 

v"  This  is  the  shop  where  the  dollies  are,  and  I  have  come  to  buy.      (The  shopman  looks  overjoyed.) 

2.   To  buy  the  one  that  pleases  me  most, 
One  that  can  talk,  and  one  that  can  walk. 
To  choose  the  one  whose  springs  are  strong, 
That  one  I'll  surely  buy. 
During  the  second  verse  the  buyer  enacts  her  little  role,  showing  the  shopman  in  pantomime  what  she  wishes. 

The  shopman  then  proceeds  to  wind  up  his  dolls.  If  the  dolls  are  too  numerous  and  it  takes  too  long  a 
time,  the  shopman  can  press  an  imaginary  button.  The  pianist  then  begins  the  phrase  of  music  and  the 
class  gives  the  Dolly  Dance  on  the  preceeding  page.     The  class  sings  the  verses  as  before. 

The  shopman  meanwhile  during  the  Dolly  Dance,  exhibits  the  good  points  of  the  different  dolls ;  the 
curls  of  one,  the  ribbons  of  another,  etc.  Once  in  awhile  the  shopman  lifts  one  of  his  wares  out  into  the 
circle.  Impress  upon  the  children  that  whenever  one  of  thdm  is  thus  lifted  out,  that  one  must  keep  on 
enacting  the  verse  the  other  dollies  are  singing  and  doing. 

At  the  end  of  the  Dolly  Dance,  the  dollies  are  all  run  down.  As  soon  as  the  last  verse  is  sung,  the 
buyer  sings  the  following  verse  : 

Buyer  :  The.  little  French  dolls  have  all  run  down ; 
Have  all  run  down  ;  have  all  run  down. 
The  little  French  dolls  have  all  run  down, 
I  guess  I'll  wind  them  up. 

The  buyer,  assisted  by  the  shopman,  winds  up  the  dolls,  who  come  up  in  jerks  to  an  erect  position. 
When  all  are  wound,  the  buyer  addresses  the  shopman. 

Buyer:   They're  all  so  fine,   I  can^t  choose  one.     I  can't  choose  one, 
I  can't  choose  one.      (The  shopman  looks  disconsolate.) 
Rapidly.      I  guess  I'll  take  them  all  I     (The  shopman  looks  delighted.) 

The  shopman  turns  the  doll  who  is  nearest  it,  toward  the  exit.  She  walks  out  in  marionette  fashion 
followed  by  the  class.  The  buyer  is  about  to  follow  them  out  the  door  when  the  shopman  puts  out  an 
imperious  palm.  The  buyer  places  the  purchase  price  therein  and  goes  out  followed  by  the  obsequious  and 
delighted  shopman. 

Note  :  This  can  be  done  on  the  gymnasium  floor  or  on  a  stage  with  good  effect.  Put  in  as  much 
pantomime  as  the  principal  characters  can  portray. 


22 


THREE  BLIND  MICE 


Three  blind  mice,       see     how  they  run,  Three  blind  mice,       see     how  they  run.         They    all    took  aft-er  the 


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fram  -  er' s  wife,  farm  -  er' s  wife.    She    cut  off  their  tails  with  the   car- ving  knife,   car-ving  knife,  Did  you 


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ev  -  er    see        such  fools  in  your  life,      As     three    blind        mice,  These  three    blind      mice. 

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FORMATION; 


Meastire    i 
Measure    2 

Measures  3-4 
Measures  5-6 
Measure    7 
Meastires  S-9 

Measure    10 
Measures  11-16 


A  circle  composed  of  three  abreast,  hands  joined,  and  one  in  front ;  then  three  again  and  one 
in  front  of  them,  etc.  The  first  eight  measures  depict  the  mice  pursuing  the  farmer's  wife. 
The  next  four  measures  depict  the  farmer's  wife  as  the  pursuer. 

The  last  four  measures  show  the  mice  are  still  foolish ;  so  foolish  in  fact  that  the  farmer's 
wife  has  to  laugh  at  them. 
All  take  three  slow  stealthy  running  steps. 

All  scurry  ahead  with  swift  little  running  steps.  The  farmer's  wife  catches  up  her  skirts 
a  bit. 

Same  as  measures  1—2. 
Same  as  measure  3. 
They  all  turn  abruptly  about. 

All  run  opposite  to  line  of  direction  with  scurrying  little  steps,  the  farmer's  wife  brandish- 
ing her  knife.     The  mice  give  little  squeaks. 
All  stop  running.     The  farmer's  wife  drops  her  knife  at  her  side. 

Each  series  of  three  form  a  little  circle  around  each  farmer's  wife  and  slide  madly  around 
to  end  of  phrase  of  music.  Each  farmer's  wife  meantime,  places  her  hands  on  her  hip 
and  regards  them,  shaking  with  laughter  at  their  foolishness. 


HICKORY-DICKORY  DOCK 


23 


Hick  -  o  -  ry     Dick  -  o  -  ry     Dock, 


The    mouse   ran      up        the      clock, 


The 


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clock      struck  one,  the       mouse      ran  down, 


Hick-  o  -  ry,   Dick  -  o  -  ry      Dock. 


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(mm 


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5 


6 


II 

Clangety,  clangety,   clang  ! 
The  fire-horses  ran  : 
The  fire  they  stopped 
And  back  they  trot 
Clangety,  clangety,  clang ! 

FORMATION :      *  Double  circle  ;  partners  facing. 

Measure     i  All  sing.     On  "Hickory,  dickory"  partners  join  right  hands  and  turn  partners  at  place 

with  six  running  steps. 

Measure    2  On  "Dock"  pause,  partners  facing  in  double  circle. 

Measures  3-4  On  "The  mouse  ran  up  the  clock,"  the  children  raise  the  right  arm  to  vertical,  panto- 
miming with  the  thumb  and  forefinger  the  running  of  the  mouse. 

Measure    5  On  "The  clock  struck  one  raise  the  left  hand  to  vertical,  clapping  both  hands  together 

smartly  on  "  one.'^ 

Measure     6  On  "The  mouse  ran  down,"  bring  the  left  hand  down  to  side,  pantomiming  the  running 

of  the  mouse  with  thumb  and  forefinger. 

Measures  7-8  On  "  Hickory,  dickory,  dock,"  catch  partners  right  hand,  and  with  left  hand  catch  hold 
of  skirt.  Scurry  around,  turning  partner,  with  little  running  steps,  at  place  pantomiming 
fear  of  the  mouse.      End  facing  partners  in  single  circle. 

CHORUS 

Partners  give  hands,  and  move  toward  centre  of  circle. 
Measures  1-2         Slide  twice,  and  jump,  feet  together. 
Measures  3-4         Repeat  above  away  from  centre  of  circle. 
Measure     5  Slide  once,  and  jump  toward  center  of  circle. 

Measure    6  Slide  once,  and  jump  away  from  center  of  circle. 

Measures  7-8         Slide  twice  away  from  center  of  circle  and  jump. 

II 
Formation  the  same. 
Measures  1-2         Same  as  in  first  verse. 
Measures  3-4         Pantomime  the  lusty  ringing  of  bells. 
Measure    5  Shake  finger  once  impressively  as  partners. 

Measure    6  Run  at  place  lifting  knees  high  in  front. 

Measures  7-8         Join  right  hands.     Turn  partner  at  place  with  running  steps. 
Repeat  chorus. 
*  See  Glossary. 


24 


LITTLE  MISS  MUFFET 


Lit-tle  MissMuf  -  fet      sat  on   a  tuf- fet       Eat-ing  her  curds  and  whey;  A  -  long  came  a  spi-der  and 

Legato.  __ 


hi  Clr  JTS 


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sat  down  be-side  her,  And  frightened  Miss  Muffet  a-  way,  a- way.  And  frightened  Miss  Muffet  a  -  way. 


3 


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FORMATION :       *  Two  front  columns  of  two  ranks  each,  the  columns  facing  each  other,  about  eight  feet 

apart. 

Those  in  the  front  ranks  are  Miss  Muffets ;  those  in  the  rear  ranks  are  the  spiders.     The 

spiders  are  about  three  feet  back  of  the  Miss  Muffets. 

All  sing :  but  during  the  first  three  lines  the  Miss  Muffets  only  portray  the  action. 
Measure     i  "Little  Miss  Muffet."     Each  little  Miss  Muffet  makes  a  deep  bow,  and  points  her  right 

forefinger  at  herself. 

Meastire     2  **  Sat  on  a  tuffet."     They  cross  their  legs  and  sit  down  on  the  floor. 

Measures  3-4         **  Eating  of  curds  and  whey.".     Pantomime  the  holding  of  a  bowl  in  the  left  hand  and 
the  raising  of  a  spoon  in  the  right  hand  to  the  mouth  on  "  curds." 

Measure     5  "Along  came  a  spider."     The  spiders  now  come  forward  with  a  waddling  gait,  at  the 

same  time  moving  their  arms. 
Measure    6  "And  sat  down  beside  her."     Each  spider  sits  on  his  heels  beside  his  Miss  Muffet  and 

looks  at  her. 
Measures  7-8         "And  frightened  Miss  Muffet  away,  away."     Miss  Muffet,  suddenly  perceiving  the  spider, 

rises    precipitately,  catches    up    her  skirts   and  exchanges  places  with  the   Miss   Muffet 

opp)Osite.     The  two  ranks  of  Miss  Muffets  now  face  each  other. 

On  the  second  "away,"  the  spiders  arise  and  step  back  two  paces. 

Measures  9-10       "And  frightened  Miss  Muffet  away."     The  spiders  all  raise  their  right  hands  to  vertical 
with  a  little  spiral  movement,  to  imitate  the  spider  climbing  up  his  thread  into  the  tree 
again,  above  the  new  Miss  Muffet. 
Repeat  all  with  the  new  Miss  Muffet. 

Note  :     Be  careful  not  to  lay  emphasis  on  the  fright  at  the  spider ;  rather  on  the  foolishness  of  Miss 
Muffet. 


♦  See  Glossary 


LITTLE  ROBIN  RED  BREAST 


25 


Lit-tle  Rob-in  Red  Breast     sat         on  a  tree, 
Moderato. 


Up      went     Pus -sy  cat,     down     went      he; 


Down   went    Pus-sy   cat       and  a -way     Rob-in  ran,      Said  Little  Robin  Red-breast,  Catch  me  if  you  can. 


'v  x-> 


II 

Little  Robin  Red  Breast  jumped  upon  a  wall. 

Pussy  Cat  jumped  after  him ;  almost  had  a  fall ; 

Little  Robin  chirped  and  sang,  and  what  did  Pussy  say? 

Pussy  Cat  said  "Meow"  and  Robin  flew  away. 

FORMATION  :      Two  front  columns .:    one  of  two  ranks ;     (^  ^~^     ^~^ 
the  other  of  one  rank,  facing  each  other. 
Pussies  V,  Robins  X,  Trees  O. 
The  column  of  one  rank  is  the  trees. 

The  column  of  two  ranks  represent  the  robins  and  Pussy  cats. 
Those  in  the  front  ranks  are  the  robins ;  those  in  the  rear  rank  the  Pussies. 
The  robins  are  standing  and  are  facing  the  trees  which  are  about  eight  or  ten  feet  distant. 
The  pussies  are  crouched  down  about  three  feet  behind  the  robins. 
All  sing:    "  Little  Robin  Red  Breast  sat  upon  a  tree." 

The  robins  standing  in  a  straight  row  teetering  up  and  down  on  their  toes,  and  fluttering 
their  wings. 

On  up  all  the  Pussy  Cats  stand  erect. 

On  down  all  the  Robins  crouch  down. 

On  down  all  the  Pussies  crouch  down  again,  hands  underneath  chins. 

Each  Robin  runs  across  fluttering  its  wings  and  gets  behind  the  tree  facing  it. 

The  Robins  all  peek  saucily  from  behind  their  tree  at  the  discomfited  Pussy  opposite. 

On  "  Catch  me"  Robin  peeks  around  right  side  of  tree. 

On  "If  you"  Robin  peeks  around  left  side  of  tree. 

On  "Can"  Robin  peeks  around  right  side  of  tree. 

11 
The  single  rank  of  deserted  Pussies  form  now  the  row  of  trees. 
The  former  Pussies  are  now  the  Robins  and  the  former  Robins  are  now  the  Pussies. 

1  Robin  sits  on  his  heels,  while  Pussy  crouches,  for  a  spring  some  three  feet  behind  him. 

2  Robin  jumps  forward  one  jump. 

3  Pussy  jumps  forward  one  jump  after  him. 

4  Pussy  looks  back  over  his  shoulder. 

5  Robin  flutters  his  wings. 

6  All  point  their  right  forefingers  earnestly. 

7  All  the  Pussies  meow  dolorously. 

8  Robins  run  across  flapping  their  wings  and  getting  behind  the  trees  opposite. 
The  former  trees  are  now  the  robins  ;  the  former  robins  are  now  the  cats  ;  the  former  cats 
are  not  the  trees.     Repeat  the  first  verse. 
Each  child  has  now,  had  a  chance  to  impersonate  Robin,  Pussy  Cat  and  tree. 


Measures 

1-2 

Measure 

3 

Measure 

4 

Measure 

5 

Measure 

6 

Measure 

7 

Measure 

8 

Measure 
Measure 
Measure 
Measure 
Measure 
Measure 
Measure 
Measure 


26 


CARPENTER^S  DANCE 


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CARPENTER'S  DANCE 


27 


FORMATION :     Single  circle,  facing  in  line  of  direction. 

MAKING  THE  SLED 

I 

Carrying  the  Boards  to  the  Carpenter's  Shop 
Measures  1-16      The  class  walk  around  the  circle  pretending  to  carry  the  boards  on  their  right  shoulders. 

II 

Sawing  the  Boards  into  Runners  and  Cross-Pieces.     Planing  the  Boards 

All  face  in  single  circle.  Raise  right  knee  as  if  putting  it  on  board,  while  sawing  it  into  lengths. 
Hold  end  of  saw  and  pantomime  sawing  movement,  up  and  down.  When  sawing  make  the  noise  of  z-z-zzz. 
When  planing  the  sound  of  s-s-sss. 


Measures  1-2 

Measures  3-4 

Measures  5-6 

Measures  7-8 


Saw  twice,  once  to  a  measure. 

Saw  three  times. 

Put  down  right  foot  and  pretend  to  plane  the  board  twice,  once  to  a  measure. 

Plane  three  times. 

Measures    9-16     Repeat  measures  1-8. 

Repeat  measures  1-16. 

Ill 

Nailing  the  Sled  Together 

Face   partners   and   kneel.      Pretend   to  take  a  nail  from  pocket,  and  hold   it  on  board.      With  the  right 
hand  pretend  to  hammer. 

Measure  i  "  Tap, "  hammer  once. 

Measure  2  "  Tap, "  hammer  once. 

Measures  3-4  "  Rap-a-tap-a-tap-tap."     On  each  word  drive  the  nail  in. 

Measures  5-16  Repeat  three  times  more,  driving  the  nails  in  different  parts  of  the  sled. 


IV 


Putting  the  Ropes  in,  and  Going  for  a  Ride 


All  face  in  single  circle,  the  partner  in  front  extends  her  hands  backward.     The  partner  in  back  grasps 
them.     All  begin  with   the  right  foot  and  slide  very  smoothly  in  line  of  direction. 


28 


DREAM  CHILDREN 


1      I.  Very  slowly  and  dreamily 


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IV.    BUGLE  CALL  TO  ASSEMBLE 

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V.    SALUTE 


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VL    MARK  TIME    DRUMS    March  forward  2d.  time 


DREAM  CHILDREN 


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29 


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Vn.    SHCXDTING 


Vm.  &  DC.    CHARGING,  AND  RETREAT 


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X.     £XIT     Slowly  and  softly 


30 


DREAM  CHILDREN 


XL    EXIT  CHILD    Slowly 


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This  little  pantomime  portrays  the  story  of  a  little  girl  who  falls  asleep  and  dreams  she  sees  her  play- 
mates as  soldiers.  She  sees  tiiem  called  to  arms  by  their  captain  ;  sees  them  marching  forward  to  charge  the 
castle ;  sees  the  attack  and  the  retreat.  The  unfortunate  finale  begins  to  arouse  her.  She  stirs  and  the 
children  steal  away  softly.  The  little  girl,  now  fully  awake,  looks  around.  Her  dream  companions  have 
fled,  and  so  s/i^,  too,  now  runs  away. 

DRAMATIS  PERSONAEi 

The  Little  Girl  who  Dreams. 
The  Captain. 
The  Dream  Soldiers. 

Line  the  children  up  along  one  side  of  the  room, 
c'nair  in  the  center  of  the  room. 


They  are  supposed  to  be  invisible  during  I.     Place  a 


Measures  1-4 


Measures  1-16 


Measures  1-2 


Measures  3-4 
Measures  5-16 


The  child  who  is  to  take  the  dreamer's  part  leaves  the  line.  She  stretchea  and  yawns ' 
sees  the  chair ;  goes  toward  it ;  rubs  her  eyes  and  yawns  again.  She  drops  into  the  chair; 
falls  asleep. 

II 

The  class  now  comes  tip-toeing  in,  pointing  at  the  little  girl  and  signaling  to  each  orher 
for  intense  quiet.  By  the  end  of  this  phrase  of  music  the  class  ahould  have  formed  a 
single  circle  around  the  sleeping  figure. 

Ill 

The  music  is  played  this  time  with  accent  on  count  "4  and."  Although  the  music  is 
4-4  time,  better  results  will  be  obtained  in  this  if  the  teacher  will  count  "  i  and  2  and" 
for  the  first  measure,  "  3  and  4  and"  for  the  second  measure,  repeating  the  same  count  for 
the  third  and  fourth  measures,  etc. 

The  class  is  now  in  a  ring  circle,  facing  in  line  of  direction.  All  begin  with  the  left 
foot.  On  counts  i,  2,  3,  the  children  make  three  tip-toeing  steps  forward.  On  count 
*'4and,"  they  put  their  right  forefinger  to  their  lips,  turning  half-way  round  to  right* 
and,  looking  at  one  behind  them,  whisper,  s/t  / 

Repeat  above,  only  turn  to  left  on  count  "  4  and." 

Repeat  measure  1—4  to  end  of  phrase,  repeating  the  music  once. 


DREAM  CHILDREN 


31 


IV  m 

Measures  1-4         All  raise  their  right  hands  to  their  lips  as  if  blowing  a  bugle ;  left  hands  on  hips ;  feet 
together. 

V 

On  this  measure  the  captain  steps  from  the  ring  circle  toward  the  center  of  the  circle  with  three  steps 
and  waves  his  sword.      (Count  4.) 

At  the  same  time  the  class  marches  forward  three  steps,  left,  right,  left,  and  click  their  heels  together 
(count  4.)  On  the  first  three  steps  their  right  arms  are  at  side  horizontal;  on  count  4,  bring  their  right 
hand  up  to  salute  and  halt. 


Measures  1-8 
Measures  1-8 


Measure    i 


Measures  2-4 
Measure    4 


Measures  1-4 
Measure    5 

Measures  6-20 


Measures  1-4 
Measure  5 
Measure  6 

Measures  6-20 


VI 

All  mark  time,  while  they  beat  on  an  imaginary  drum  with  their  hands,  in  time  to  the  music. 
A.\\  forward,  t?iarch,  around  the  circle;  beating  time  on  the  drums  as  before. 
The  captain  marches  forward  with  his  company  a  foot  or  two  within  the  circle. 

VII 

The  whole  class,  including  the  captain,  begin  with  the  left  foot  and  go  forward  three  steps, 
left,  right,  left,  and  charge  forward  on  the  right  foot  with  stamp  (bang),  count  4.  On 
the  same  count,  the  whole  class  raises  the  left  arm  to  front  horizontal  as  if  aiming  again. 
Pull  the  trigger  with  right  forefinger.  (Emphasize  the  fact  that  one  cannot  hear  the  bang 
of  a  gun  until  one  has  pulled  the  trigger. ) 

On  count  4,  the  captain  levels  his  sword  in  the  direction  he  wishes  his  company  to  fire. 
Repeat  above  to  each  measure. 
Repeat  all.  vttt 

THE  CHARGE 

The  class  and  captain  run,  bent  forward,  guns  held  in  both  hands,  as  if  charging  up  a  hill. 
The  captain  waves  his  sword,  and  the  class  drop  down  on  the  right  knee,  aiming  as  in  VII, 
and  stamping  with  the  left  foot  (bang). 
Repeat  above  three  time  more. 

IX 
THE  RETREAT 

The  Class  about  faces  and  runs  against  line  of  direction. 

The  captain  waves  his  sword  in  command. 

The  class  about  faces  and  drops  on  the  right  knee  taking  aim  as  before,  and  stamps  with 

the  left  foot. 

Repeat  above  three  times  more,  repeating  the  music  once. 

X 


The  child  in  the  chair  stirs  a  little.      Immediately  the  whole  attitude  of  the  class  changes.     The  military 
atmosphere  vanishes.     The  captain  slips  into  the  circle.     The  children  point  toward  the  one  in  the  center ; 
begin  to  tip-toe,  and  sh — h-h  softly  to  one  another.     The  captain  leads  the  circle  off  into  the  position  from 
where  they  first  started. 

XI 

The  child  awakens ;  stretches  her  arms ;  yawns ;  looks  around  for  her  erstwhile  dream  companions. 
Astonished,  she  realizes  it  is  a  dream  and  walks  regretfully  away. 

Note  :  This  is  a  very  good  little  pantomime  for  exhibition  purpose,  either  for  a  stage  or  center 
production. 

Explain  a  little  about  aiming  a  gun,  army  tactics,  etc.  It  would  be  better  to  be  attacking  a  castle,  for 
instance,  rather  than  an  opposing  force,  on  account  of  the  prejudice  of  many  mothers  to  the  idea  of  imprinting 
on  the  child's  mind  the  personal  element  of  war. 


82 


TRIP  AND  GO 


Trip    and        go,  heave    and        ho. 


Up      and      down  and        to      and        fro; 


From      the      town 


let        us        rove, 


From     the      town 

tt     1         ^ 


to       the       grove. 


FORMATION :  Two  front  colums  of  two  ranks*  each,  facing  each  other,  with  a  space  of  about  six  feet 
between  columns.     XX     O  O.     The  "X"  are  partners.     The  "  O"  are  partners. 

Measure    I  Those  in  the  front  ranks  skip  four  steps  forward  joining  right  hands  with  one  opposite. 

Measure    2  Skip  four  steps,  turning  at  place. 

Measure    3  Drop  right  hands  and  join  left  hands  with  partner  in  the  rear  rank,  and  turn  in  place  with 

four  skips. 

Measure    4  Drop  partner's  left  hand,  and  join  right  hands  with  same  one  as  in  Measure  2. 

Measures  5-8  All  face  toward  the  front  of  the  room.  Partners  join  inside  hands.  ,  The  head  couple 
of  each  column  leads  with  a  skipping  step  to  the  outside  and  around  till  they  meet  at  the 
foot  of  the  room,  where  they  fall  in  by  twos. 

Measures  9-10       Still  skipping  the  head  couple  lead  up  the  center  of  room  ;  the  others  following. 

Measures  11-12     The  "  X's"  and  "  O's"  skip  into  position  of  original  formation. 
*  See  Glossary. 


THE  VINEYARD  DANCE 

(FRENCH) 


33 


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34 


THE  VINEYARD  DANCE 


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FORMATION :       Double  circle.     Facing  in  line  of  direction.     Inside  hands  joined. 


L    GOING  TO  WORK 


Measures  1-7         Walk  gayly  around  the  circle. 

Measure    8  On  these  three  chords  the  children  step  in  position  in  a  single  circle,  facing  in. 


n.    PLANTING  THE  VINES 

Measure    l  On  counts  "  One  and"  pantomime  with  right  foot  and  both  hands  the  plunging  of  a  spade 

into  the  earth. 
On  count  **  two  and"  throw  the  imaginary  spade  full  of  dirt  over  right  shoulder. 

Measure    2  On  counts  "one  and"  stoop  down  and  pantomime  the  putting  the  vine  in  the  hole  just 

dug  for  it. 
On  counts  "  two  and"  straighten  quickly  and  stamp  earth  around  roots  twice. 


Measures  3-8         Repeat  three  times  more.  ^ 

Measure    9  On  these  three  chords  the  children  form  double  again  ;  but  all  face  toward  center  of  circle' 


35 

•     nL    PICKING  THE  GRAPES  AND  MAKING  GRAPE-JUICE 

Measure    I  On  count  ' '  one' '  the  inner  circle  leans  to  the  left ;  the  outer  to  the  right,  and  all  panto" 

mime  the  picking  of  a  bunch  of  grapes. 

On  count  "four"  all  straighten  and  drop  their  grapes  into  a  hypothetical  basket  on  their 
left  arm. 

Measure    2  On  count  '-one"  all  pantomime  the  turning  over  of  their  baskets,  so  that  the  grapes  drop 

at  their  feet. 
On  counts    "  four,  five,  six  "    press  the  juice  from  the  grapes  with  three  stamps. 

Measures  3-8        Repeat  above  three  times  more. 

Measure    9  On  these  three  chords,  children  again  form  in  single  circle,  facing  in,  partners  only  join 

hands. 

IV.    WORK  COMPLETED.    NOW  IS  PLAY-TIME 

Measure     1  Four  skips  toward  center  of  circle. 

Measure    2  Four  skips  away  from  center  of  circle,  children  skipping  backward. 

Measure    3  Four  skips  toward  center  of  circle,  children  skipping  forward. 

Measures  4-5  Partners  join  right  hands  and  turn  partners  with  eight  skips. 

Measure    6  Partners  drop  right  hands  and  skip  four  skips  backward,  out  from  center  of  circle. 

Measures  7-8  Partners  join  right  hands  again  and  turn  with  eight  skips. 

Measure    9  On  these  three  chords  children  get  into  position  in  double  circle.     Those  in  the  outside 

circle  facing*  against  line  of  direction ;  those    in    the    inside    circle    facing  in*  line  of 
direction.     Hands  are  not  joined. 


I.   GOING  VISITING 

Measures  1-2  All  walk  forward  eight  steps  around  the  circle  in  the  direction  they  are  facing.  As  the 
children  pass,  they  nod  their  heads  as  if  in  greeting. 

Measures  3-4  All  go  about  face  and  retrace  their  steps.  The  outside  circle  now  goes  in  line  of  direction, 
and  the  inside  circle  goes  against  line  of  direction.  As  each  child  passes  another  child, 
they  both  nod  their  head  in  greeting. 

Measures  5-8        Repeat  all. 

Measure    9  On  these  three  chords,  children  get  in  position.      Double  circle,  facing  forward ;  inside 

hands  joined. 

I.    GOING  HOME 

Measures  i  8         Walk  gayly  around  circle  to  end  of  strain  of  music,  swinging  the  joined  inside  hands. 
Outside  hands  on  hips. 
*  See  Glossary 


86 


CAPTAIN  JENKS 

I.   I'm    Cap  -  tain  Jenks  of  Horse  Ma-rines,  I    feed     my  horse  on  corn  and  beans  ;  And  swing  the  la  -  dies 
3.   Sa-lute  your  partner,  and  turn  to  the  right,  And  swing  your  neighbor  with  all  your  might ;  And  promenade  your 


in    their  teens.  For  that's  the  way  in  the      ar    -    my.   2.   I     teach    the   la  -  dies  how     to    dance, 
la  -   dy  right.   For  that's  the  way  in  the      ar    -    my. 

Slowly 

Ab      !■       -!      1        -Jl      I     "B      -a— VI      I  h     -ft] 


how   to  dance,      how   to  dance,  I  teach  the  la  -  dies  how   to  dance,  For  that's  the  way  in  the  ar  -     my, 


Do  this  dance  on  I  and  III  with  military  precision  in  the  saluting,  marking  time,  and  facing ;  on  III 
with  a  great  deal  of  manner.     All  sing  the  verses  during  the  dance  with  lots  of  dash  and  spirit. 

FORMATION :       Double  circle,  partners  facing.     Very  erect,  military  carriage. 

I 

On  "I'm  Captain  Jenks  of  the  Horse  Marines,"  all  mark  time  at  place,  beginning  with  the  left  foot, 
and  on  "  Marines"  bring  the  right  hand  to  salute 

On  "  I  feed  my  horse  on  corn  and  beans,"  partners  join  hands  across,  right  hand  to  right  hand,  and  left 
to  left,  at  the  same  time  facing  forward  in  line  of  direction.  All  begin  left  foot  and  slide  forward,  left  foot 
leading. 

On  "And  swing  the  ladies  in  their  teens,"  face  partner  in  double  circle,  keeping  hands  joined  and  turn 
partner  at  place,  each  sliding  to  the  left. 

On  "  For  that's  the  way  in  the  Army,"  drop  hands  to  sides  and  mark  time.    On  the  word  "  Army,"  bring 

right  hand  to  salute. 

II 

The  class  is  now  in  double  circle,  partners  facing.  On  "  I  teach  the  ladies  how  to  dance,"  each  one  passes 
partner  with  four  steps,  raising  right  hand  high  as  if  to  take  partner's  hand. 

On  "  How  to  dance  ;  how  to  dance,"  walk  backward  four  steps,  right  hand  in  same  position. 

On  **I  teach  the  ladies  how  to  dance,"  give  right  hand  to  partner  and  turn  her  with  four  walking  steps. 

On**  For  that's  the  way  in  the  Army,"  drop  hands,  face  in  double  circle,  and  salute  as  before. 

Ill 

On  **  Salute  your  partner,"  raise  right  hand  and  salute. 

On  "Turn  to  the  right,"  each  right  faces.     All  are  now  facing  a  new  partner, — i.e.,  "  the  neighbor." 

"And  swing  your  neighbor  with  all  your  might."     Each  one  slides  forward  and  meets  new  partner, 

gives  hands  across  as  before,  and  swings  her  to  left  at  place  with  sliding  step.      "  For  that's  the  way  in  the 

Army."     Face,  mark  time,  and  salute  as  before. 


37 


BLACKSMITH  DANCE 


I,     To  imitate  a  limping  horse 


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BLACKSMITH  DANCE 


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I.    GOING  TO  THE  BLACKSMITH  SHOP 

FORMATION :     Double  circle,  facing  forward  in  line  of  direction.      Inside  hands  joined. 

The  one  on  the  inside  represents  the  horse  being  taken  to  the  blacksmith ;  the  one  on  the 

outside  is  the  owner.     The  joined  hands  represent  the  halter  and  the  owner  should  keep 

slightly  ahead,  since  he  is  leading  his  animal  to  the  shop. 
Measure    i  Left  foot  leading.*     Step  left  foot  forward,  and  close  right  foot  behind  putting  weight  on 

it,  and  repeat.     Those  on  inside  of  circle  limp  on  left  foot  \  thoss  on  the  outside  do  not. 
Measures  2-8         Repeat  above  to  end  of  phrase. 
*  See  Glossary. 


BLACKSMITH  DANCE 


39 


n.    AT  THE  SHOP 

FORMATION  :       Double  circle.      Partners  facing.     The  ones  in  the  outside  circle  are  the  blacksmiths ;  the 
ones  in  the  inside  circle  are  the  horses. 

Measure     i  The  blacksmiths  pantomime  the  taking  of  a  shoe  from  a  rack  on  the  right.      Counts  1—2. 

Puts  it  in  the  forge  on  the  left.      Counts  3-4. 

Measure    2  With  both  hands  pantomime  the  pulling  of  a  rope  to  make  the  bellows  go,  on  counts  1-3. 

On  this  measure  the  horse  prances  a  little  as  he  sees  the  coals  in  the  forge  glow. 

Measures  3-8         Repeat  above  three  times  more. 

The  four  shoes  are  now  red-hot,  ready  to  shape  on  the  anvil. 

m.    THE  ANVIL 

Measure     i  The  blacksmith  takes  his  pincers,  and  gets  a  red-hot  shoe  from  the  forge. 

Measure     2  Places  it  on  his  imaginary  anvil  between  him  and  his  horse. 

Measure    3  Raising  his  right  fist  to  vertical  and  his  left  fist  to  front  horizontal,  he  brings  his  right  fist 

down  on  his  left  fist.     Count  i. 

Immediately  after  striking  his  two  fists  together,  he  leaves  his  right  hand  at  front  horizontal, 
swings  his  left  hand  back  describing  a  full  circle, — i.e.,  elbow  straight,  bringing  his 
clenched  fist  through  vertical  position  to  front  horizontal  strtking  his  right  band.  Count  2. 
Repeat  above,  alternating  striking  and  receiving  hand.      Counts  3-4. 

Measure    4  Repeat  measure  3. 

Measures  5-8        Repeat  all. 

Measures  1-8         Repeat  preceding  eight  measures,  which  will  represent  the  shaping  of  the  four  shoes. 

During  the  striking  of  the  anvil,  the  horse  frightened  by  the  flying  sparks,  prances  and 
jumps  at  place. 

IV.    SHOEING 

FORMATION:       Double  circle,  facing  inward. 

The  horse  about  faces,  so  his  back  is  toward  the  blacksmith. 

Measure     l  The  blacksmith  takes  the  horses  left  foot  between  his  knees.     Counts   1-2. 

Fits  the  shoe  upon  his  foot.     Counts  3-4. 

Measure    2  Hammers  shoe  in  place  with  right  fist  lightly,  four  times. 

Measure    3  Drops  the  left  foot  and  takes  up  right  foot,  between  his  knees.      Counts  1-2. 

P'its  his  shoe.      Counts  3-4. 

Measure    4  Same  as  Measure  2. 

Measures  5-8        Same  as  Measures  1-4. 

All  four  shoes  are  now  on. 


V.    GOING  HOME 

FORMATION  :       Double  circle,  facing  in  line  of  direction. 

Measures  I-16       Positions  and  step  same  as  in  r,  only  the  gait  is  fast  and  with  no  limo. 
Note  :     Let  those  who  have  enacted  the  horse  well,  be  the  blacksmith  next  time. 


40 


WOODCHOPPER'S  DANCE 


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WOODCHOPPER'S  DANCE 


41 


FORMATION :       Double  circle,  facing  in  line  of  direction. 


Measures  i-8 

Measure    i 

Measure    2 

Measures  3-4 

Measures  5-8 
Measures  1-8 


Measure    i 


Measure  2 
Measures  3-4 

Measures  5-6 
Measures  7-8 


Measure  i 
Measure  2 
Measure  3 
Measure  4 
Measures  5-8 


Measures  1-2 
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Measures  5-8 


Measures  1-8 


I.    WALKING  TO  THE  WOODS 
All  walk  gayly  to  their  work.     Both  hands  up  to  right  shoulder,  as  if  carrying  an  axe. 

n.    LOOKING  FOR  A  TREE 

The  outside  circle  about  faces  and  join  right  hands  with  partners.  (Grand  right  and  left.) 
Drop  hands  and  skip  four  steps  forward  around  circle,  giving  left  hand  to  new  partner  on 
count  four. 

Drop  left  hands  immediately  and  skip   four  steps,  still  in  same  direction,  joining  right 
hands  as  soon  as  the  new  partners  pass  on,  count  four.     This  new  partner  will  be  second. 
Skip  two  skips  on  in  same  direction  and  join  both  hands  with  this  new  partner  (the  third 
person  met),  and  circle  at  place  with  six  skips,  as  if  girdling  a  tree. 
Repeat  above,  facing  as  before.      Grand  right  and  left. 
Repeat  all. 

m.    FELLING  THE  TREE 

Partners  face :  double  circle,  about  four  feet  apart.  Those  in  the  outside  circle  step 
forward  on  right  foot.  Those  in  the  inside  circle  step  back  on  the  left  foot.  Each  panto- 
mime the  holding  of  their  end  of  the  cross-cut  saw  with  both  hands. 

Pantomime  pulling  the  saw  through  the  wood  toward  the  center  of  circle,  each  bending 
the  knee  toward  the  center.      Counts  1—2. 

Pantomime  pulling  the  saw  through  the  wood  away  from  the  center  of  the  circle,  bending 
the  knee  away  from  the  center.      (Do  not  move  the  feet.)     Counts  3-4. 
Repeat  above,  not  changing  the  position  of  the  feet. 

The  ones  on  the  outside  of  the  circle  chop  four  times  at  the  imaginary  tree  with  big, 
swinging  strokes. 

The  ones  on  the  inside  of  the  circle  repeat  Measures  i  and  2. 
Same  as  Measures  3  and  4. 

The  following  four  chords  represent  the  crashing  of  the  falling  tree. 
Each  partner  runs  back  four  steps. 

IV.    LOPPING  OFF  THE  SMALL  BRANCHES 

Each  partner  runs  forward  four  steps  as  if  climbing  the  fallen  trunk. 

Each  face  forward  in  double  circle,  and  chop  each  on  his  own  side,  four  times. 

All  walk  forward  in  line  of  direction, — {I'-e.,  on  top  of  tree  trunk). 

Repeat  Measure  2. 

Same  as  Measures  3  and  4. 

V.    SAW  INTO  LENGTHS  AND  ROLL  TO  SLEDS 

Same  as  Measures  i   and  2.      III. 

Each  pantomimes  pushing  up  in  circular  movement. 

Repeat  above. 

VI.    TAKEN  AWAY  BY  OXEN 

The  teacher,  or  someone  of  the  class,  takes  the  part  of  the  driver  and  pantomimes  the 
hitching  of  oxen.      The  circle  draws  near  together. 

Designate  the  two  to  be  the  leading  oxen.  The  last  two  will  be  the  logs.  The  first  two 
and  the  last  two  only  join  inside  hands,  the  others  facing  out  join  hands,  not  with  their 
partners,  but  with  the  one  behind  them  and  the  one  in  front,  thus  making  traces.  The 
last  two  (the  logs)  crouch  down,  their  feet  flat  on  the  ground.  The  two  lines  of  oxen 
drag  them  around  the  circle  to  end  of  phrase. 


42 


UZUMATI   DANCE 

(  DANCE  OF  THE  GRIZZLY  BEARS  ) 


IRCXJUIS  TRIBAL  MELODY 

Intro,  or  Entrance. 


L     Moderately. 


Traditionai,     Re-arr.  by  EvA  O'Brian 
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UZUMATI  DANCE 


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(A  dance  of  the  Miwok  Indians  of  California,  adapted  from  the  unpublished  manuscript  of  Professor  E. 
W.  Gilford,  Assistant  Curator  of  the  Anthropological  Museum,  University  of  California.) 

The  different  movements  and  steps  of  the  dance  have  practically  been  unchanged  from  the  original. 

The  music  is  adapted  from  the  Tribal  Melodies  collected  by  Alice  Fisher. 

This  dance  is  especially  interesting  because  of  its  pantomimic  value.  In  all  the  steps  except  III  and  V 
imitate  the  shambling  gait  of  the  bear.  On  III  and  V  the  Indians  dropped  their  pantomime  except  for  the 
movement  of  the  arms  and  head,  and  executed  two  simple  variations  of  their  loved  "shuffle"  steps.  They 
wore  long  obsidian  claws  tied  to  the  fingers  of  the  left  hand. 


INTRODUCTION 

If  this  dance  is  to  be  used  for  stage,  festival  or  pageant,  have  participants  enter  on  introduction  of  music 
with  step,  hop,  knees  flexed  high  in  front.  Begin  with  left  foot  and  extend  the  left  arm  forward,  right  back. 
Repeat  introduction  until  the  dancers  have  formed  a  single  circle,  facing  in  line  of  direction, — {i.e.,  a  circular 
movement  to  the  right  hand  side  of  your  entrance  door. ) 

If  this  dance  is  to  be  used  for  class  work,  have  the  class  form  in  single  circle,  facing  in  line  of  direction. 
The  feet  should  be  together  and  the  arms  at  first  position, — (/.<?.,  as  if  hugging  a  barrel  in  front  of  one.) 

As  the  music  of  introduction  begins  the  class  should  sway  a  little  from  side  to  side  at  place.  Count  two 
to  a  measure.  * 

Note — I  and  II  is  to  be  played  4  times,  (all  9  measures.)      Ill  and  IV  8  times. 


44 


UZUMATI  DANCE 


Measure  i 
Measure  2 
Measure    3 

Measure    4 

Measures  5-8 
Measures  9-16 

FORMATION: 
Measures  1-2 
Measure    3 


Measure  4 

Measure  5 
Measures  6-7 


FORMATION 
Measure    i 


Measure    2 
Measures  3-7 


Measures  1-2 
Measures  3-4 

Measures  5-6 
Measures  7-8 


Measures  1-8 


I 

All  step  forward  on  left  foot,  count  one, — arms  still  at  first  position. 

Close  right  foot  to  left,  keeping  feet  parallel  at  count  two. 

Step  forward  on  left  foot,  count  one. 

Hold  weight  on  left  foot,  count  two. 

All  extend  left  arm  to  left  side,  count  one,  and  draw  it  in  with  vicious  scooping  motion  at 

count  two.     At  the  same  time  all  growl,  g-r-r  in  harmony  with  the  music. 

Do  not  advance  with  this  measure.  . 

Same  as  Measure  3,  only  executed  with  right  arm.     Spread  the  fingers  out  in  circle  fashion 

like  claws.     Bring  right  foot  parallel  to  left  and  place  weight  on  it. 

Repeat  as  above. 

Repeat  all. 

II 

All  face  toward  center  of  circle. 

Introduction  :  Two  measures,  all  kneel. 

All  lean  to  left  and  make  a  scooping  motion  wiih  left  arm,  count  one. 

Rep)eat  above,  count  two.      (In  all  these  clawing  motions  hold  fingers  curved  like  claws» 

and  turn  head  and  look  at  the  moving  hand. ) 

Lean  to  right  and  repeat  above  clawing  with  the  right  arm  twice. 

I^an  forward  forearms  horizontal. 

Rise  quickly,  and  all  make  a  complete  circle  to  left  at  place  with  eight  waddling  steps, 

holding  arms  at  first  position. 

Repeat  above  nine  measures,  three  times  more. 

Ill 

All  face  forward,  single  circle,  in  line  of  direction. 

Step  flat  footed  with  emphasis  on  left  foot,  count  one.     At  same  time  make  clawing  move- 
ment with  left  hand  and  turn  the  head  and  look  at  moving  hand. 
Touch  right  toe  about  fourteen  inches  to  the  rear  of  left  foot,  count  two. 
Repeat  above  with  other  foot  and  hand. 
Repeat  all  seven  times  more. 

IV 
Same  formation  as  in  III. 

All  lean  forward  and  run  four  little  waddling  steps. 

All  straighten  up  and  make  a  quarter  circle  to  left,  with  four  waddling  steps,  arms  at  first 
position. 

All  make  one-half  circle  to  right,  with  four  waddling  steps. 

All  run  diagonally  from  circle,  fiercely,  with  eight  rushing  steps,  and  make  a  vicious  claw- 
ing movement  with  left  hand.     All  growl  g-r-r  on  these  two  measures. 
(This  was  done  with  the  intent  of  startling  the  spectators  who  sat  in  a  circle  around  the 
dancers. ) 

(Music  repeated  seven  times.) 
Repeat  IV  seven  times  more. 

V 


FORMATION  :       All  "about  face"  in  single  circle  and  go  backward  in  their  line  of  direction. 
Measure  i  Skip  on  left  foot,  count  one — {i.e.,  a  hop,  step  done  on  one  count,  hardly  leaving  the 

floor.)      Hop  high  with  left  foot,  landing  with   emphasis  flat  on  the  foot,  count  two. 
Repeat  with  right. 
Meastires  2-8         1-8.     Repeat  all  fourteen  times  more. 

If  it  is  desired  to  get  the  dancers  off  the  stage  at  end  of  dance,  have  them  exit  with  the  step  in  V,  the 
music  being  repeated  until  all  are  off  the  stage.  The  above  was  the  exit  step  of  the  Uzumati  Indians  when 
they  did  the  dance  in  the  ceremonial  house.     Each  participant  danced  out  of  the  entrance  door  backward. 


Who     will       plant     this         grain        of         wheat  ? 
Legato. 


THE  LITTLE  RED  HEN* 

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FORMATION : 


DRAMATIS  PERSONAE: 

The  Little  Red  Hen. 
The  Duck. 
The  Goose. 
The  Chickens. 

Choose  from  the  class  the  principal  characters. 

The  rest  of  the  class — {i.e.,  the  chickens)  form  in  a  ring  circle  around  the  principals,  who 

face  toward  each  other. 


Measures  1-2 
Measure    3 
Measure    4 
Measures  5-6 
Measures  7-8 


Measures  1-2 


(Words  to  be  sung  throughout  by  participants  as  indicated.) 

Red  Hen  :    "  Who  will  plant  this  grain  of  wheat  ?  " 

Duck:   ''Not  I." 

Goose:   "Not  I." 

Red  Hen  :    "I  will  then.     I  will  then." 

Chickens  :    "And  she  planted  the  grain  of  wheat." 

ACTION 


The  Little  Red  Hen  goes  up  to  the  Duck,  and  on  the  word  7£/>^(ra/ extends  her  cupped 
hands  towards  him. 

Measure    3  The  Duck  turns  his  back  indignantly  to  her  as  he  sings  "  Not  I." 

Measure    4  On  measure  4  the  Little  Red  Hen  immediately  extends  her  hands  pleadingly  toward  the 

Goose  who  sings  "  Not  I' '  and  turns  his  back  disdainfully. 

Measures  5-6  The  Red  Hen  looks  at  them  sorrowfully  and  sings  "  I  will  then,  I  will  then,"  at  the  same 
time  pantomiming  the  sowing  of  the  wheat. 

Measures  7-8  The  chickens  all  face  in  line  of  direction,  walking  forward  in  such  formation,  and  panto- 
mime the  sowing  of  the  wheat  as  they  sing  in  chorus,  "And  she  planted  the  grain  of 
wheat !"  The  Red  Hen  also  keeps  up  the  pantomime.  On  the  word  "wheat"  they  all 
stop  walking  and  the  chickens  face  in  as  before  in  ring  circle. 

*  See  Sara  Cone  Byrant's  Fairy  Tales.     It  is  advisable  to  tell  the  children  the  story  first. 


46 


Measures  1-2 
Measure    3 
Measure    4 
Measures  5-6 
Measures  7-8 


THE  UTTLE  RED  HEN 

II 

The  Little  Red  Hen  :   **  Who  will  take  this  wheat  to  the  mill?" 

The  Duck:   "Not  I." 

The  Goose:   "Not  I." 

The  Little  Red  Hen  :   "  I  will  then.     I  will  then." 

Chickens  :   *'  And  she  took  the  wheat  to  the  mill." 


Measures  1-2 

Measure  3 
Measure  4 
Measures  5-6 

Measures  7-8 


Measures  1-2 
Measure    3 
Measure    4 
Measures  5-6 
Measures  7-8 


ACTION 

The  Little  Red   Hen  pantomimes  the  holding  of  a  bag  of  wheat  with  both  hands  over 

her  right  shoulder.     She  goes  up  to  the  Duck  as  she  asks  the  question. 

Same  as  in  Part  L 

Same  as  in  Part  I. 

The  Little  Red  Hen  patiently  bending  under  her  load  walks  around  on  the  inside  of  the 

circle  while  the  two  lazy  ones  look  disdainfully  on. 

The  Chickens  face  in  line  of  direction  and  walk  around  circle  as  if  each  were  carrying  a 

sack  of  wheat. 


The  Little  Red  Hen 
The  Duck:  "Not  I." 
The  Goose:  "Not  L" 
The  LiTiLE  Red  Hen  ; 


III 


"  Who  will  make  the  bread  from  this  flour?" 


"I  will  then.      I  will  then." 


Chickens  :   "  And  she  made  the  bread  from  the  flour." 


ACTION 

Measures  1-2  Same  as  in  Part  I,  substituting  flour  for  wheat. 

Measure    3  Same  as  part  I. 

Measure    4  Same  as  Part  I. 

Measures  5-6  The  Red  Hen  pantomimes  the  kneading  of  the  flour  before  her. 

Measures  7-8  The  Chickens,  still  facing  in,  imitate  her  action  at  place. 


IV 

Measures  1-2        The  Little  Red  Hen  :   "  Who  will  eat  this  nice,  fresh  bread?" 
Measure    3  The  Duck  :  "I  will. 

Measure    4  The  Goose:   "I  will." 

Measures  5-8        The  Little  Red  Hen  :     "No,  you   won't:      No,  you  wont!      I   shall   eat   it   myself. 
Qluck!     Cluck!" 

ACTION 

Measures  1-2         Same  as  in  Part  I. 

Measure    3  The  Duck  eagerly  jumps  forward. 

Measure    4  The  Hen  offers  the  bread  quickly  to  the  Goose  who  also  jumps  forward. 

Measures  5-6         The  Hen  tosses  her  head  and  backs  away  scornfully  hugging  her  bread  to  her. 

Measures  7-8         She  turns  and  walks  out  of  the  circle.     On  '  *  Cluck,  Cluck' '  she  turns  toward  the  circle 

and  sings  it  sharply,  and  the  chickens  immediately  turn  their  backs  on  the  discomfited 

Duck  and  Goose,  ostracizing  them  in  the  middle  of  the  circle. 


47 


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*Sce  Sara  Cone  Byrant's  "  Best  Stories  to  tell  Children." 


48 


THE  LITTLE  PINK  ROSE 


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FORMATION 


DRAMATIS  PERSONAE 

The  Little  Pink  Rose. 

The  Rain. 

The  Sunshine. 

The  Ground. 

Choose  three  from  the  class  to  be  the  first  three  characters. 

The  ground  is  the  class. 

The  class  forms  a  ring  circle  facing  in.     The  Rosebud  kneels  in  the  center,  covering  her 

eyes  with  her  hands. 

Those  impersonating  the  Rain  and  Sunshine  are  at  one  side. 


PART    I 

Measures  1-7         The  Rain  runs  around  the  class,  arms  outstretched,  shaking  the  drops  from  her  finger-tips. 
Measure    8  She  stops,  facing  toward  the  circle,  and  claps  her  hands  twice,  calling  "Tap  !  Tap  !" 


Meastires  1-2        The  Rosebud  partly  uncovers  her  eyes  and  sings,  *'  Who  is  there?" 


Measures    1-4 


Measures   1-4 


B 

The  Rain  sings,  "It's  the  gentle,  soft  rain  and  I  want  to  come  in.     It's  the  gentle,  soft 
rain  and  I  want  to  come  in. ' ' 

C 

"  No,  you  gentle,  soft  rain,  you  cannot  come  in.     No,  you  gentle,  soft  rain,  you  cannot 

come  in." 

Repeat  all  of  Part  I. 

Repeat  Measures  1-8,   Part  I.     On  the  last  refusal,  the  Rain  runs  around  the  circle  again 

and  then  to  her  original  place  away  from  the  circle. 


THE  LITTLE  PINK  ROSE 
PART  II. 


49 


Measures  1-15  The  Sunshine  enters  and  skips  around  the  circle,  her  arms  outstretched,  and  the  palms  of 
her  hands  up  as  if  feeling  the  warmth  of  the  sun.     The  face  should  be  upraised  also. 

Measure     16  She  stops,  facing  the  circle  and  clajps  her  hands  twice  on  the  two  last  notes,  calling  "Tap  ! 

Tap!" 


The  Rose  sings  as  before,  "  Wto  is  there  ?" 

B 

The  Sunshine  sings,  "It's  the  bright,  bright  sunshine,  and  I  want  to  come  in." 
the  bright,  bright  sunshine,  and  I  want  to  come  in." 


It's 


Measures  1-15 
Measure    16 


The  Rose  sings,    "No,  you  bright,  bright  sunshine,  you  cannot  come  in."      "No,  you 

bright,  bright  sunshine,  you  cannot  come  in." 

Repeat  all  of  Part  II. 

Repeat  Measures  1-16.     The  Sunshine  skips  once  around  the  circle  and  then  off  to  her 

original  place. 

PART    III 

Immediately  the  Rain  and  the  Sunshine  (each  with  their  own  little  pantomime)  tour  the 

circle. 

Both  stop  and  tap. 


The  Rose  sings,  * '  Who  is  there  ?' ' 

B 

The  Rain  and  Sunshine  sing  together,  "  It's  the  Rain  and  the  Sunshine  and  we  want  to 
come  in.     It's  the  Rain  and  the  Sunshine  and  we  want  to  come  in." 


The  Rose,  taking  down  her  hands  from  her  eyes,  responds,  "Well,  I  s'pose  if  there  are 
two  of  you,  you'll  have  to  come  in.  Well,  I  s'pose  if  there  are  two  of  you,  you'll  have 
to  come  in." 

Measures  1-13      Part  II. 

The  Rain  and  the  sunshine  break  through  the  circle — {i.e.,  the  earth)  and  each  take  one 
of  Roseoud's  hands.  They  lead  her  around  circle.  Measure  13.  They  break  through 
the  circle. 

Measures  14-15     They  drop  hands  and  all  whirl  at  place — class  and  all. 

Measure    16  The  class  make  a  deep,  peasants  courtesy,  their  wrists  crossed  underneath  their  chins,  so 

the  backs  of  the  hands  are  towards  the  face.  The  Rose  does  the  same,  only  making  a 
deep  bow,  while  the  Rain  and  Sunshine  stand  on  either  side,  the  Rain  with  hei  arms  out- 
stretched and  fingers  down,  and  the  Sunshine  with  hands  and  arms  upstretched. 
Tell  the  class  when  they  whirl,  they  become  all  the  different  flowers  in  the  garden  and 
their  hands  are  the  leaves  on  either  side  of  the  blossom.  They  all  make  their  bow,  but 
the  Rose  makes  the  deepest  one,  for  she  was  the  prettiest  of  them  all. 

Note  :     If  possible,  tell  the  story  first. 


50 


THE  GOATS  IN  THE  TURNIP  FIELD* 


Why  do   you      cry? 
Plaintively 


I      cry    be  -  cause  the    goats  are    in    my  tur  -  nip  field. 


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Don't     cry,     I'll     chase  the  goats  from  out  your   tur  -  nip     field. 

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)    tst.  Ending.  W  2nd.  Ending.  {For  last  verse.)  ^   '■^'.       \ 


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DRAMATIS  PERSON  AE: 

The  Little  Boy. 
The  Bunny  Rabbit. 
The  Sly  Red  Fox. 
The  Big  Black  Wolf. 
The  Bee. 

The  Goats, — any  number,  preferably  three. 
FORMATION :      Select  the  principal   characters  and  have  the  rest  of  the  class  form  a  horseshoe  which 
represents  the  fence  around  the  turnip  field  ;  the  opening  represents  the  gate.     The  three 
goats  are  inside  the  field.     The  little  boy  at  the  entrance,  the  other  principals  wait  outside 
the  circle  for  their  turn. 
*  See  Sara  Cone  Bryant's  Fairy  Tales.     Tell  the  story  to  the  class  before  teaching  the  dance. 


THE  GOATS  IN  THE  TURNIP  FIELD 


61 


Measures  i-8  IV.  The  Little  Boy  sees  the  goats  and  chases  them  around  the  field.  He  tries  to  shoo 
them  out  the  gate,  but  they  kick  up  their  heels  and  rush  past.  On  the  eighth  measure  the 
Little  Boy  gives  up  and  sits  down  near  the  gate. 

Measures  1-3  First  ending.      The  Little  Boy  digs  his  fist  into  his  eyes  singing :    "  I  cry,  I  cry,  I  cry," 

ending  with  sobbing. 

B 

As  he  sits  crying  along  comes  the  Bunny  Rabbit,  and  on  the  last  sobbing  note  he  sings : 
Measures  1-2         Parti.     "  Why  do  you  cry  ?  " 

The  Little  Boy  stops  crying,  and  looking  up  sings  : 
Measures  1-3         Part  11.      "I  cry  because  the  goats  are  in  my  turnip  field." 

The  Bunny  Rabbit  looks  at  the  goats  contemptuously  and  sings : 
Measures  i-4         Part  III.      "Don't  cry  !     I'll  drive  the  goats  from  out  your  turnip  field." 
Measures   1-8         Part  IV.     The  Bunny  Rabbit  chases  the  goats  as  did  the  boy,  but  with  no  success.     On 

the  eighth  measure  he  comes  and  sits  down  beside  the  boy  inside  the  field,  and  nearer  the 

gate  than  the  boy. 

Measures  1-3         First  ending.      Both  sing  and  pantomime  as  in  "A"  first  ending. 

C 

As  the  Boy  and  the  Rabbit  are  crying,  along  comes  the  Sly  Red  Fox,  and  on  the  last 
sobbing  note  he  sings  to  the  Bunny  (who  is  nearest  the  gate  where  the  Fox  has  just 
entered) . 

Measures   l   2  Parti.      Fox:    "  Why  do  you  cry  ?" 

Measures.  1-3  Part  II.     Bunny  Rabbit :    *'I  cry  because  the  Little  Boy  is  crying." 

Measures  1-3  (Repeated.)     Boy  :    "  I  cry  because  the  goats  are  in  my  turnip  field." 

Measures  1-4  Part  III.     Fox  repeats  Part  III  B. 

Measures  1-8         Part  IV.     The  Fox  chases  the  goats  and  gives  up.      He  sits  down  next  the  rabbit  and 

nearer  the  gate. 
Measures  1-3         First  ending.     All  sing  as  in  B. 

D 

As  the  three  sit  in  a  line  crying,  along  comes  the  Big  Black  Wolf.      He  asks  the  Fox  (who 

is  nearest  the  gate) — 
Measures  1-2         Parti.     Wolf:    "  Why  do  you  cry?" 

Measures  1-3  Part  II.  Fox  :  (pointing  toward  the  rabbit)  "  I  cry  because  the  Bunny  Rabbit  is  crying." 
Measures  1-3  (Repeated.)  Rabbit :  (pointing  toward  the  boy)  "  I  cry  because  the  Little  Boy  is  crying." 
Measures  1-3  (Repeated.)     Boy:    (pointing  toward   the  goats)    "I  cry  because   the  goats  are  in  my 

turnip  field." 

Measures  1-4         Wolf  repeats  as  in  Part  III  B. 
Measures  1-8         Wolf  repeats  action  in  part  IV  B. 
Measures  1-3         First  ending.     All  sing  as  in  B. 

E 

As  the  four  sit  crying  with  the  wolf  nearest  the  gate  along  comes  the  Bee. 
Measures  1-2         Part  I.      Bee  sings  to  the  Wolf,  "  Why  do  you  cry  ?  " 

Measures  1-3         Part  II.      Wolf:    (pointing  toward  the  fox)  "I  cry  because  the  Sly  Red  Fox  is  crying." 
Measures  1-3         (Repeated.)     Fox:    (pointing  toward  the  rabbit)    "I  cry  because  the  Bunny  Rabbit  is 

crying." 

Measures  1-3         (Repeated.)     Rabbit:    (pointing  toward  the  boy)  "  I  cry  because  the  Little  Boy  is  crying. " 
Measures  1-3         (Repeated.)     Boy:    (pointing  towards  the  goats)    "I  cry  because  the   goats  are  in   my 
turnip  field." 

Measures  1-4         Part  III.     Bee  sings  same  as  in  B,  Part  III. 

Measures  1-8         The  Bee  chases  each  one  b-z-z  !   bzz  !  and  stings  each  one  with  her  forefinger.      Each  goat 

as  it  is  stung  rushes  out  the  gate. 

On  the  eighth  measure  the  Bee  comes  back  and  stands  at  the  head  of  the  row.     All  stand 

to  greet  her  and  sing  in  chorus:    "We  laugh!     We  laugh  !     We  laugh!"  ending  with  a 

laugh  in  crescendo. 


52 


THE  THREE  LITTLE  PIGS  AND  THE  WOLF* 


t'H.iiii 


^M 


^m 


n.     Slowly  and  distinctly. 

(straw  ■) 
[.  Please,  man,    give  me  some-<  twigs  vto 

(.bricks) 


^ 


m 


^ 


^r^. 


8va  lower.. 
PP  1 


■t^:    ^ 


E^ 


^ 


^ 


r-  2 


^ 


^ 


^^^^=*: 


^ 


5 


-^ *- 


^T^ 


build       me        a    house?  nL 


^^ 


^ 


I 


m 


i 


^^^ 


i 


^ 


8va  lower.. 

1 


3 


=t 


1=^: 


^ — =»- 


IV. 


V.  VL 

Lit-tlepig,    lit-tlepig      let      me  come  in!  No!       no!        no!     By  the 


FFT 


1=^ 


^S 


j(=p 


^ 


mi 


3 


=^=W 


knock!    knock! 


IJ^ 


knock! 


4 


^ 


2J-3r  iJ-Jf  if^ 


^ 


^^^ 


^ 


l^=sz 


-c^ 


vn. 


hair  of  my  chin  -  ny  chin  chin!         Then  I'll  huff      and    I'll  puff       till       I    blow  your  house  in. 


1 


^ 


XT  3- 


^ 


r-:Sr 


-J: 


-^ 


♦See  Sara  Cone  Bryant's  "Best  Stories  to  Tell  Children." 


vnL 


THE  THREE  LITTLE  PIGS  AND  THE  WOLF 


53 


So     he  huffed    and  he  puffed   and   he  blew  that  house       in. 


1 


& 


f>—t — ^ 


^^m 


t 


i 


II: 


-:i^r^ 


^ 


& 


kj 


m. 


^^ 


r^ 


8va  lower. 

1 


frz 


I 


3 


■^ 


d.    d 


y^~*     *( 


SSE 


5 


-^^ 


X.     (  To  be  used  for  Pig  N^o.  3. ) 

So     he  huffed      anfl    he  puffed     but      he   could 


not         blow 


^ 


^ 


:2: 


1 


-m-  •  -••-'" 


-J-  •  -W-' 


^ 


5 


^wa  lower.. 
3 


g 


* 


^ 


ji 


I 


^  i  '  3    ^13 


^  •  ^ 


9  '    m. 


f 


^-+4 


that    brick        house         in.         So    he   laid   him  -  self         down      and    he  died  of  cha  -  grin. 


DRAMATIS  PERSONAEt 

The  Man. 

The  Wolf. 

The  Three  Little  Pigs. 

The  Straw.  ^ 

The  Twigs,    [      The  Class. 

The  Bricks.  3 

Select  the  five  principal  characters  and  have  all  except  the  man  stand  to  one  side. 

A 
Part  I.     Measures  1-4  repeated  as  long  as  the  action  requires. 

The  class  join  hands  in  a  line.  The  man  takes  the  free  hand  of  the  child  leading  in  both  his  over  his 
shoulder.  He  leans  over  a  little  as  if  carrying  the  straw  and  begins  walking  forward  in  his  line  of  direction. 
From  the  opposite  side  comes  the  first  little  pig,  "  hopety-hop,  hopety-hop  !" 

As  soon  as  he  meets  the  man  he  stamps  his  foot  and  holds  up  his  right  hand  to  Stop  him.  The  pianist 
should  be  watching  and  on  this  signal  gives  a  final  chord  and  goes  into  Part  II. 


54  THE  THREE  LITTLE  PIGS  AND  THE  WOLF 

Part  n.     Measures  1-4     The  little  pig  sings,  "  Please,  man,  give  me  that  straw  to  build  me  a  house." 

On  the  word  straw  he  waves  his  hand  toward  the  class. 

On  the  word  me  he  points  his  forefinger  towards  himself. 

Part  III.     Measures  1—4  is  repeated  as  long  as  the  action  requires. 

The  man  nods  to  signify  his  willingness  and  holds  up  two  fingers  to  denote  the  price.  The  little  pig 
nods  his  head  in  assent,  put  his  hand  in  his  pocket,  gets  the  money  and  puts  it  in  the  man's  free  hand.  The 
little  pig  then  takes  from  the  man  the  hand  of  the  child  at  the  head  of  the  line,  puts  it  over  his  shoulder  and 
hopety-hops  around  in  a  circle  till  he  comes  to  the  foot  child.  He  then  joins  the  free  hand  of  the  head  and 
foot  child.  He  hopety-hops  around  the  outside  of  the  circle  catching  the  wrists  of  the  joined  hands  of  each 
child  in  the  circle  with  both  of  his  hands.  This  is  weaving  the  straw  into  a  house.  When  he  gets  to  where 
he  started  from,  he  opens  the  door — (/./r.,  unclasps  the  head  and  foot  child's  hands),  and  shuts  the  door 
after  him.  While  he  is  admiring  his  house  along  comes  the  greedy,  mean  wolf,  with  his  hands  clasped  behind 
him  and  a  ferocious  expression  on  his  face  ;  hopety-hop,  hopety-hop.  When  he  has  circled  half-way  around, 
he  stops. 

Part  IV.     Measures  1-2  he  claps  his  hands  loudly  three  times. 

Part  V.      Measures  1-4  he  sings,  "  Little  pig,  little  pig,  let  me  come  in,"  with  appropriate  pantomime. 

Part  VI.  Measures  1-4  the  little  pig,  feeling  perfectly  secure,  sings,  "No,  no,  no,  by  the  hair  of 
my  chinny,  chin,  chin  !" 

Part  VII.     Measures  1-4  the  wolf  sings,  "Then  I'll  huff  and  I'll  puff  till  I  blow  your  house  in." 

Part  VIII.  The  class  sings  "So  he  huffed  and  he  puffed  till  he  blew  the  house  in."  While  they 
sing,  the  wolf  runs  around  puffing  at  the  circle.  At  the  word  huffed  they  bend  their  knees.  At  the  word 
puffed  they  crouch  down.     At  the  word  blew  they  unclasp  hands. 

Part  IX.  The  wolf  breaks  through  the  fallen  straws  and  catches  hold  of  the  pig's  hand  and  hops  off 
with  him,  the  pig  squealing  dismally. 

B 

The  class  stand  and  join  hands  again,  all  except  the  head  and  foot  child.  The  man  comes  forward  again 
and  assumes  his  load  of  twigs — (/.^.,  taking  the  head  child's  free  hand),  bending  forward  a  little  more,  as 
twigs  are  heavier  than  straw. 

The  drama  imfolds  itself  as  before.  The  man  begins  walking  around  making  a  bigger  circle  than  the 
house  circle.  The  second  pig  comes  forth,  hopety-hop,  hopety-hop.  The  pantomime  being  the  same.  He 
sings,  "  Please,  man,  sell  me  those  twigs  to  build  me  a  house?"  The  man  signifies  his  willingness  only  the 
price  is  three  fingers  now. 

He  builds  his  house,  nemesis  overtakes  him  and  his  fate  is  as  the  first  piggy's. 


The  third  piggy  meets  the  man  who  is  carrying  bricks  this  time,  and  who  is  almost  bent  double  with  the 
weight.  The  bargain  is  concluded  as  before, — the  price  advancing  to  five  fingers.  The  load  is  transferred 
and  the  little  pig  builds  his  house,  putting  the  mortar  on  between  the  chunks  as  he  hopety-hops  round  the 
circle.     All  happens  as  before  through  Part  VII.      (Part  VIH  omitted. ) 

Part  X.  Measures  i-io  the  class  sings:  "So  he  huffed  and  puffed,  but  he  could  not  blow  that  brick 
house  in  ;  so  he  laid  himself  down  and  he  died  of  chagrin." 

The  class  being  a  brick  house  stand  proudly  erect  while  the  first  six  measures  are  sung. 

The  wolf  puffs  at  the  circle  bravely  for  the  first  four  measures.  He  realizes  that  he  cannot  get  the 
triumphant  little  pig  inside,  so  he  seats  himself  on  the  floor  and  puts  his  head  between  his  knees  on  the  last 
ibur  meas\ires. 


55 


THE  THREE  BILLY  GOATS* 


I.     Briskly,  for  skipping. 


i 


fe^^lEE^ 


-SS" p* 


a^ 


w 


S 


W 


^ 


d2=4=z:jE 


f=^ 


r=s 


f 


^ 


t»J: 


n.    Troll. 
Who    is   tramp  -  ing     on      my     bridge  ? 


^^TT~g 


■A m—- — W— I- 


2 


[^ 


P    •     i 


8 


|tt=| 


S^ 


P       f- 


^P       P      V^rr 


f 


^ 


in.    1st.  Goat. 
I  am, 


I  am, 


I  am. 


I  am. 


rV.    Troll. 
Where  are     you     going  ? 


^^ 


-*-^-^ 


15 


^ 


3e^ 


^p^=^^ 


^^ 


n^^ 


2 


^Sb 


PBZzp: 


r — ^ 


:4=^ 


V. 


I  am  go-ing       to  eat         the  green  grass  on       the  hill. 


VI.    Troll. 
Then     I  am  com  -  ing 


=1?* 


iiE 


-^-^~4»- 


:i;^r-"-!;,-fe 


::^ 


^^^F=^S^^ 


^ 


2 


Is^jS 


J- 


SES 


f^ 


r — *" 


to       eat      you. 


r 


vn. 


No!  no!  no! 


no! 


no!  no! 


no!  For 


■^ 


.ez^d=^=^ 


^ 


-0~^~P- 


-#-^ 


5Ei 


3e^E 


P    •     .>*    ! 


^: 


ifezl 


m^r- 


--* — -*■ 


i 


:j=3F 


^=3: 


±S: 


Big         Bil-ly's    com-ing,    eat 


him,         eat         him. 


Vni.    Troll. 

Then      be         off     with  you. 


:1=f 


~^—^- 


t=-- 


^ 


-^^-- 


6 


8 


'^-rf 


-h ^fc±i 


:^i^ 


*Tell  the  Story  first. 


f 


Az 


T 


56 


THE  THREE  BILLY  GOATS 


tX.    Exit  Billy. 


V.    For  the  last  Billy  Goat. 

I  am  go  -  ing    to 


^> ;j   ^  »'  f- 


^ 


S  — ^HL-I 


£^ 


^m 


^^^SB 


^ 


^ 


4 


2 


&t 


J  ^ 


^=r 


meet         my         brothers,  we         want       the         green       g^ass  on  the  hill. 


^^ 


m 


=#3 


^ 


^ 


5 


6 


8 


i 


^^1 


^ 


f 


^=^ 


no!  no! 


^ 


vn. 


No!  no! 


no!  no!  no! 


Come         and 


yj'^  a-j* '  S-j^ 


^^ 


t± 


g^^- 


w      jg- 


i 


5± 


R 


5 


JL-4^ 


J  j. 


f 


Catch     me  if  you  can. 


X.    Exit  Big  Billy. 
Briskly,   Tempo  I. 


i 


-/^^ 


^m 


bj'  kT 


^ 


8 


S 


^ 


^^-^ 


r=^ 


f 


DRAMATIS  PERSONAEs 

Little  Billy. 

Big  Billy 

Biggest  Billy. 

The  Troll. 

The  Pool — ^The  Rest  of  the  Class. 


THE  THREE  BILLY  GOATS 


57 


FORMATION :  Select  the  four  principal  characters  of  the  story.  The  three  goats  are  at  one  side  away 
from  the  pool.  The  class  form  a  ring  circle  which  is  then  divided  into  two  semi-cirles 
(  ).  The  open  space  between  the  two  semi-circles  is  the  bridge  across  the  pool.  Within 
the  pool,  at  one  side  of  the  bridge,  crouches  the  Troll. 

A 


Measures  1-7 
Measure    8 

Measures  1-2 

Measures  1-4 

Measures  1-4 

Measures  1-4 


Measures  1-8 


Measures  1-4 


Little  Billy  gallops  around  the  circle,  trip,  trop  ;  trip,  trop. 

He  gallops  onto  the  bridge — {i.e.,  in  one  of  the  openings)  with  a  final  trip  trop. 

II 
The  Troll  sings  in  a  growly  voice.      "  Who  is  tramping  on  my  bridge?" 

Ill 
Little  Billy  gallops  skittishly  at  place  and  sings  gayly,  **  I  am,"  etc. 

IV 

The  Troll  menacingly,  "Where  are  you  going?" 

V 
Little  Billy:    "I  am  going  to  eat  the  green  grass  on  the  hill."     He  points  toward  the 
other  side  of  the  circle. 

VI 
The  Troll  begins  to  arise  :   *  *  Then  I  am  coming  to  eat  you. ' ' 

VII 
Little  Billy,  quite  undisturbed,  gallops  at  place,  while  he  sings:   **  No,  no,  no,  no,  no,  no, 
no,  no  !     For  Big  Billy  is  coming.     Eat  him  !     Eat  him  !" 
On  meausure  5  put  arms  out  in  front  in  circular  fashion  to  show  how  big  Billy  is 
On  measures  7  and  8  point  back  the  way  he  first  entered  on  the  bridge. 

VIII 

Troll  crouches  back  into  position  and  rubs  his  stomach  in  anticipation.     He  sings  :  **  Then 
be  off  with  you." 

IX 
Little  Billy  scuttles  across  the  bridge  and  out  the  other  opening. 

B 
Big  Billy  gallops  around  the  circle.     Part  I  of  music. 

Repeat  all  for  Big  Billy,-except  in  Part  VII,  Measure  5,  put  in  the  word  "Biggest"  for 
"Big." 


Biggest  Billy  gallops  around  the  circle. 
Repeat  I-IV. 

X 
Measures  1-8        Biggest  Billy  gallops  restively  at  place  and  sings,  "  I  am  going  to  meet  my  brother.     We 
want  the  green  grass  on  the  hill. " 
Repeat  VI.     A. 

XI 
Measures  1-4        Biggest  Billy  sings  derisively,  "  No,  no,  no,  no,  no,  no,  no,  no  !     Come  and  catch  me  if 
you  can. 

Measures  5-8  He  dashes  past  the  Troll  who  chases  him.  Part  I.  The  Troll  pursues  him  around  the 
circle,  till  he  is  opposite  the  farthest  opening.  Here  Biggest  Billy  turns  and  bunts  him 
through  the  opening  into  the  pound. 


58 


GOLDILOCKS  AND  THE  THREE  BEARS 

(A  Pantomime  for  Qass  or  Exhibition) 


L     To  be  repeated  ad  lib. 


I 


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14 


GOLDILOCKS  AND  THE  THREE  BEARS 


59 


i 


15 


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16 


17 


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tr.  tr. 


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JyirrTizCJ^ 


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— I — I — J- 


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-c?- 


«0  GOLDILOCKS  AND  THE  THREE  BEARS  , 

This  little  pantomime  is  equally  popular  if  done  with  benches  for  beds,  a  chair  for  the  stove,  a  tabouret 
for  the  table,  etc.  If  given  for  exhibition  purposes,  the  carpentering  or  art  department  (if  the  school  has 
one)  might  make  out  of  compo  board  or  stiff  cardboard  the  stove,  and  the  three  vari-sized  bed-heads,  These, 
if  tacked  to  benches  with  the  bed-boards  towards  the  audience,  gives  the  illusion  of  the  big  bed,  the  middle- 
sized  bed  and  the  little  wee  bed. 

DRAMATIS  PERSONAE: 

Goldilocks. 
Thk  Great  Big  Bear. 
The  Medium-Sized  Bear. 
The  Little  Wee  Bear. 

Measures  1-16       Part  I.     Repeated  as  long  as  the  action  requires. 

The  scene  opens  on  the  bears  preparing  for  breakfast.  Mother  Bear  is  at  the  stove  stirring  a  huge 
kettle  of  porridge  with  a  big  spoon.  She  stirs  energetically,  tastes  it,  seasons  it,  and  stirs  some  more. 
Father  Bear  meanwhile  goes  to  one  side  and  gets  an  armful  of  wood  which  he  puts  down  near  the  stove, 
breaking  one  or  two  pieces  across  his  knees.  These  he  pantomimes  putting  in  the  stove.  Mother  Bear 
motions  to  him  he  has  put  in  enough.  He  goes  over  to  his  bed  and  begins  to  make  it  up.  Meanwhile  Baby 
Bear  sets  the  table,  getting  a  bowl  at  a  time ;  first  the  big  one,  then  the  medium  one,  and  then  the  smallest. 
She  places  the  spoons  and  then  the  three  different  sized  chairs  at  their  respective  places.  She  runs  over  to 
Mother  Bear,  who  tells  her  to  make  both  their  beds.  The  Mother  Bear  leaves  the  kettle  and  beckons  to 
Father  Bear  to  bring  it  over  to  the  table.  As  he  goes  to  get  it,  she  takes  the  Baby  Bear  by  the  hand  and 
leads  her  to  the  table.  Father  Bear  brings  the  kettle  to  the  table ;  Baby  Bear  lifts  the  big  bowl  up  and 
Mother  Bear  ladles  the  porridge  into  it.  After  she  has  put  several  spoonsful  in  she  stops  and  Papa  Bear 
growls,  "more,"  then  she  hastily  puts  in  two  or  three  more  and  tells  Baby  Bear  to  put  the  bowl  on  the  table. 
Then  Baby  Bear  takes  up  the  medium-sized  bowl  and  holds  it  up.  Mother  Bear  puts  a  few  spoonfuls  in  and 
Baby  Bear  starts  to  put  it  down,  when  Mother  Bear  growls  * '  more, ' '  and  puts  in  two  more.  The  little  one 
puts  it  back  and  runs  around  to  her  place,  gets  her  little  bowl  and  runs  back,  jumping  up  and  down  with  joy. 
Mother  Bear  puts  in  two  spoonsful,  the  little  Bear  squeals  "more,"  and  is  given  one  more;  she  runs  back 
and  puts  it  in  place.  Then  while  Papa  Bear  takes  back  the  kettle  to  the  stove,  Mother  Bear  goes  around  and 
lifts  Baby  Bear  into  her  little  chair  and  ties  a  napkin  round  her  neck.  Papa  Bear  comes  back  and  he  and 
Mother  sit  at  their  places,  he  in  his  big  chair,  she  in  her  medium-sized  one.  All  take  up  their  spoons  at  once 
and  dip  into  their  bowls.  They  raise  their  spoons  at  the  same  time  and  all  jump  to  their  feet  at  once,  splut- 
tering and  with  hands  to  their  mouths  as  if  burnt.  Mother  Bear  pantomimes  that  they  had  better  go  outside 
and  wait  for  their  porridge  to  cool,  so  arm  in  arm  they  waddle  from  the  scene. 

Measures  1-24       Part  II.     Repeated  as  long  as  action  requires. 

Goldilocks  enters, — looks  all  around  and  finds  the  house  is  empty.  She  runs  to  the  table  and  sees  the 
big  bowl  of  porridge.  She  takes  up  the  big  spoon  and  samples  it.  It  burns  her.  She  tries  the  medium 
bowl  next  and  that  is  too  cold.  She  tries  the  little  bowl  next  and  as  it  just  suits  her,  she  scrapes  the  bowl 
clean. 

Next,  she  tries  the  big  chair.  It  is  so  hard  she  bounces  on  it.  She  then  tries  Mother  Bear's  chair  which 
is  so  soft  she  sinks  in  the  cushion.  She  shows  her  distaste.  Then  she  sees  Baby  Bear's  chair  and  she  runs  to 
it.  She  sits  in  it  and  the  bottom  comes  through.  She  jumps  up  airily  and  scurries  about  to  see  what  else 
there  is  to  do. 

She  sees  the  big  bed  and  lies  down  on  it,  but  jumps  right  up  again.  She  begins  to  get  sleepy,  yawns  and 
stretches.  When  she  gets  to  Mamma  Bear's  bed  she  lies  down,  but  it  is  too  soft  so  she  gets  up  again  ;  goes 
to  the  little  bear's  bed,  looks  very  sleepy  and  finally  crawls  in  and  falls  fast  asleep. 


GOLDILOCKS  AND  THE  THREE  BEARS 


61 


Measures  i-8         Part  III.     The  three  bears  enter  and  waddle  over  to  their  table.      Papa  Bear  comes  to  his 
bowl  first.      He  stops  before  it  aghast.      (Repeat  the  phrase  of  music,  if  necessary.) 


Measures  1-2         Father  Bear  sings  in  a  deep,  growly  voice,  "Someone's  been  tasting  my  porridge." 
Measures  3-6         They  all  register  dismay  and  Mother  Bear  runs  around  to  her  bowl. 

B 
Measures  1-2         Mother  Bear  sings  in  a  medium -sized  voice,  "  Someone's  been  tasting  my  porridge." 
Measures  3-6         They  all  look  and  Baby  Bear  runs  to  her  place. 

C 

Measures  1-4         Baby  Bear  squeals  in  a  high  excited  voice,  "Someone's  been  at  my  porridge  and  they've 
eaten  it  all  up,"  and  bursts  into  tears  while  Mother  Bear  comforts  her. 

Measures  1-8         Part  III.     The  three  bears  inspect  the  house  and  Papa  Bear  comes  to  his  chair.     He  stands 
before   it. 

A 
Measures   1-2         Papa  Bear  sings,  "  Someone's  been  sitting  in  my  chair. 
Measures  3-6         Mother  Bear  leads  the  way  to  her  chair  and  stands  before  it. 

B 
Measures  1-2         Mother  Bear  sings,  "  Someone's  been  sitting  in  my  chair." 
Measures  3-6         Baby  Bear  runs  around  to  her  chair  and  throws  her  hands  up  in  the  air  with  horror. 

C 

Measures  1-4         Baby  Bear  trebles,  "  Someone's  been  sitting  in  my  chair  and  they've  broken  it  all  to  bits." 
She  cries  and  is  comforted  by  her  mother. 

Measures  1-8         Part  III.     They  waddle  distractedly  around,  and  Papa  Bear  leads  the  way  to  his  bed. 

A 

"  Someone's  been  lying  on  my  bed." 

Measures  3-6         They  go  to  Mother  Bear's  bed. 

B 

"  Someone's  been  lying  on  my  bed." 

Measures  3-6         While  Papa  and  Mamma  Bear  are  looking  at  the  medium  bed  the  little  Bear  slips  away 
and  runs  round  to  her  own  bed. 


"  Someone's  been  lying  in  my  bed,  and  here  she  is,  here  is  !" 

Part  III  of  music.      Goldilocks  jumps  from  the  bed  and  runs  out  of  the  door  pursued  by 
the  three. 

Note  :  Tell  the  story  first.  Outline  what  you  want  your  small  actors  to  do  as  you  go  along.  Ask  them 
how  they  would  show  they  had  tasted  something  too  hot  ?     Too  cold  ? 

In  the  same  way,  get  them  to  show  the  different  emotions.  How  would  they  show  delight,  anger, 
sleepiness,  etc.  Put  in  as  much  pantomime  as  makes  the  story  clear,  but  do  not  clutter  the  movement  with 
too  much  inconsequential  detail.  On  the  other  hand,  do  not  let  the  small  actors  be  too  abrupt.  Take 
plenty  of  time  to  get  the  story  over. 

Bear  costumes  made  from  brown  burlap  or  sacking  add  greatly  to  the  joy  and  realism  of  production. 


62 


CHICKEN  LITTLE 


L    Chicken  Little.  {Walking in  Garden.) 


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The    sky      is       fall  -  ing,  the    sky       is        fall  -  ing.     {Runs  to  meet  Henny  Penny.) 


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REFRAIN. 

Oh,     Hen  -  ny     Pen  -  ny,  the    sky      is        fall  -  ing!     [Looking  at  sky.) 


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Chick  -  en        Lit 


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How      do  you  know, 


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tie  ?       How     do  you  know,  Chicken    Lit      tie  ? 

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IV.    Chicken  Little. 

Oh !         I         saw         it         with         my     eyes, 


and     heard         it  with         my         ears,         And 


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part         of     it      fell  on  my         poor         tail, 


fell  on  my         poor         tail. 


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CHICKEN  LITTLE 

V.    Chicken  Little,  Henny  Penny. 

Oh,       let       us       run       and  tell       the       kine. 


63 


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VI. 


(  Looking  at  the  sky ) 


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B.  Oh     Duck  -  y  Luck  -  y  the  sky  is  fall  -  ing. 

C.  Oh   Goose  -  y  Loose  -  y  the  sky  is  fall  -  inj. 

D.  Oh    Tur  -  key  Lurk  -    y    the  sky  is  fall  -  in|. 

E.  Oh     Fox  -   y  Lox  -    y  the  sky  is  fall  -  in|. 


B.  How  do  yon  know  Hen  -  ny 

C.  How  do  you  know  Duck  -  y 

D.  How  do  you  know  Goose  -  y 

E.  How  do  you  know  Duck  -  y 


^^^^ 


Pen  -  ny?  Chicken  Lit -tie  told  me,  Chicken  Lit-tle  told  me. 

Luck  -  y  ?  Hen-ny  Pen-ny   told  me,  Henny  Pen-ny  told  me 

Loose  -  y  Duck-y  Luck-y    told  me,  Duck-y  Lucky  told  mS 

l^uck  .   y  ?  Goosey  Loosey     told  me.  Goose-y  Loosey  told  me. 


{Ending  of  each  Chorus) 


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How    do       you    know       Chick  -  en        Lit-tle,       How     do  you  know   Chicken    Lit  -  tie  ? 


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Repeat  IV  and  V.  '<  Oh,  I  saw  it  with  my  eyes,"  etc. 


64 


CmCXEN  LITTLE 


Choose  the  principal  characters,  and  have  them  stand  at  one  side  of  room.    Those  remaining  in  the  class 
form  the  cave  at  other  side  of  room  in  the  shape  of  the  letter  "V" 


Chicken  Little.     Henny  Penny. 


DRAMATIS  PERSONAE: 
Ducky  Lucky.      Goosey  Loosey. 


Turkey  Lurkey.     Foky  Loxy. 


Measures  1-3  Chicken  Little  walks  around  the  garden  looking  for  his  breakfast.  He  holds  his  hands 
behind  himj  palms  up,  simulating  his  unfortunate  tail. 

Measure    4  On    the  two  last    chords  he  jumps  twice,  bobbing  his  tail  up  in  the     air,  and  looking 

around  wildly. 

II 

Measures  1-2         Chicken  Little  starts  running  in  the  line  of  direction  and  sings  excitedly,  "The  sky  is 

falling!     The  sky  is  falling  ! " 
Measures  3-4         He  runs  imtil  he  meets  Henny  Penny  on  the  last  chord. 

REFRAIN:  A 

Measures  1-2         Chicken  Little  stands,  facing  Henny  Penny,  and  sings:    "Oh,  Henny  Penny,  the  sky  is 

falling. 
Measures  3-4         They  both  crane  their  necks  and  look  up  at  the  sky. 

Ill 

Measures  1-8  Henny  Penny,  seeing  nothing  alarming,  sings  **  How  do  you  know,  Chicken  Little?  How 
do  you  know.  Chicken  Little  ?' ' 

IV 

Measures  1-8  Chicken  Little  sings:  "Oh,  I  saw  it  with  my  eyes. "  On  the  word  eyes,  he  holds  his 
right  hand  in  the  shape  of  a  letter  "  o"  to  his  right  eye,  and  looks  through  it,  ' '  and  heard 
it  with  my  ears."  On  the  words  ears,  he  holds  his  right  hand  back  of  his  ear  in  a  listen- 
ing attitude,  "and  part  of  it  fell  on  my  poor  tail."  He  puts  his  hands  behind  him,  palms 
up  as  before, — "  fell  on  my  poor  tail."  On  the  \d&X.poor  tail,  he  jumps  twice  at  place  and 
looks  backward. 


Measures  1-2 
Measures  3-8 


Measures  1-4 


Henny  Penny  becomes  very  excited  and  sings,  "  Oh,  let  us  run  and  tell  the  king  !" 
Chicken  Little  nods  and  follows  Henny  Penny,  who  runs  about  the  circle.     They  meet 
Ducky  Lucky  who  waddles  out  in  time  to  meet  them  on  the  last  chord. 

REFRAIN:  B 
Henny  Penny,  who  is  leading,  stops  before  Ducky  Lucky  and  sings,  "  Oh,  Ducky  Lucky, 
the  sky  is  falling."  Ducky  Lucky  looks  up  at  the  sky  and  sings,  "  How  do  you  know, 
Henny  Penny  ?' '  Henny  Penny  turns  and  points  to  Chicken  Little  behind  her  and  sings, 
"Chicken  Little  told  me.  Chicken  Little  told  me."  Ducky  Lucky  sings,  "How  do  you 
know,  Chicken  Little?  How  do  you  know.  Chicken  Little?"  And  Chicken  Little 
answers  as  before.  (See  Part  IV.)  Then  Ducky  Lucky  sings,  "Oh,  let  us  run  and  tell 
the  king."  (See  Part  V.)  And  all  run,  Ducky  Lucky  leading  around  the  circle,  till  they 
meet  Goosey  Loosey,  who  wanders  out  in  time  to  meet  them  on  the  last  measure. 

REFRAIN:  C 
The  leader  of  the  line,  which  in  this  case  is  Ducky  Lucky,  always  announces  the  news  to 
the  newcomer.  Ducky  Lucky  now  sings :  '  *  Oh,  Goosey  Loosey,  the  sky  is  falling. ' ' 
Ducky  Lucky  answers  referring  to  the  next  in  line,  Henny  Penny,  who  refers  to  the  next^ 
which  is  Chicken  Little,  who  gives  her  proofs.  The  newcomer  (Goosey  Loosey)  offers  to 
take  them  to  the  king.     They  circle  as  before  till  they  meet  Turkey  Lurkey. 

REFRAIN:  D 
Repeat  all  with  Tiffkey  Lurkey,  and  meet  Foxy  Loxy. 

REFRAIN:  E 
Repeat  all  with  Foxy  Loxy,  except  on  V,  when  Foxy  Loxy  sings,  ' '  I  will  take  you  to  the 
king,"  they  all  follow  him  in  the  line  of  direction  in  a  single  circle  formation  around  the 
room.     He  leads  them,  on  the  last  two  measures,  into  his  cave  which  immediately  closes 
behind  them,  and  the  story  is  ended. 


Folk  Dance  and  Game  Books 

For  Schools,  Gymnasiums   and   Playgrounds 


THE  SONG  PLAY  BOOK.  Illustrated. 

By  Mary  A.  Wollaston  and  C.  Ward  Crampton,  M.  D. 

THE  PLAYGROUND  BOOK.  Illustrated. 

By  HaiTy  Sperling. 

THE  SECOND  FOLK  DANCE  BOOK.  Illustrated. 

By  C.  Ward  Crampton,  M.  D. 

MORE  SONG  GAMES.  Illustrated. 

By  Kate  F.  Bremner. 

RHYTHMS  OF  CHILDHOOD.     To  the  Little  Children  who  Dance  for  Joy. 

Illustrated. 


Crawford  and  Elizabeth  Rose  Fogg. 

DRAMATIC  GAMES  AND  DANCES  for  little  children.        Illustrated. 
By  Caroline  Crawford. 

AESTHETIC  DANCING.  Illustrated. 

By  Emil  Rath. 

THE  FESTIVAL  BOOK.  Illustrated. 

By  Jennette  Emeline  Carpenter  Lincoln. 

THE  FOLK  DANCE  BOOK. 

By  C.  Ward  Crampton,  M.  D. 

SWEDISH  FOLK  DANCES. 

•  By  Nils  W.  Bergquist. 

FOLK  DANCES  AND  GAMES. 

By  Caroline  Crawford. 

PLAYS  AND  GAMES  FOR  INDOORS  AND  OUT.  Illustrated. 

By  Belle  Ragnar  Parsons. 

GRADED  GAMES  AND  RHYTHMIC  EXERCISES.  Illustrated. 

By  Marion  Bromley  Newton  and  Ada  Van  Stone  Harris. 

DRAMATIC  DANCES  FOR  SMALL  CHILDREN. 
By  Mary  Severance  Shafter. 

GYMNASTIC  AND  FOLK  DANCING.         By  Mary  Wood  Hinman.     Quarto. 
Vol.  I.  Solo  Dances;  Vol.  IL  Couple  Dances;   Vol.  III.  Ring  Dances;  Vol.  IV. 


Quarto  cloth. 

Quarto  cloth. 

Quarto  cloth. 

Quarto  cloth. 

By  Caroline 
Quarto  cloth. 

Quarto  cloth. 

Octavo  cloth. 

Quarto  cloth. 

Quarto  cloth. 

Quarto  cloth. 

Quarto  cloth. 

Octavo  cloth. 

Octavo  cloth. 

Quarto  cloth. 

Paper  covers. 
Group  Dances. 


Circular  giving  Table  of  Contents  of  Each  Book  Sent  on  Application. 


A.  S.  BARNES  AND  COMPANY 


NEW  YORK  CITY 


^^ 


LOAN  DEPT. 

R.o.r«ed  books  .re  subject  »^mmed«K«a>a 


LD  2lA-50m-8,'61 
(C17958l0)4i6B 


YE  0315^ 


